IMAGE  EVALUATION 
TEST  TARGET  (MT-3) 


1.0 


I.I 


1.25 


'^  IIIIIM  11111^-5 

'"  IM 

"■'     1136 


12.2 


1.4 

2.0 

1.8 
1.6 

Photographic 

Sciences 
Corporation 


\ 


23  WEST  MAIN  STREET 

WEBSTER,  N.Y.  14580 

(716)  872-4503 


■4"^ 


^ 


ii? 


:\ 


\ 


6^ 


k 


s 


v. 


fA 


^ 


^ 


^ 


'^ 


i 


CIHM/ICMH 

Microfiche 

Series. 


CIHM/ICMH 
Collection  de 
microfiches. 


* 
f 

»> 


Canadian  Institute  for  Historical  Microreproductions  /  Institut  canadien  de  microreproductions  historiques 


5 


4r-. 


Technical  and  Bibliographic  Notes/Notes  techniques  et  bibliographiques 


The  Institute  has  attempted  to  obtain  the  best 
original  copy  available  for  filming.  Features  of  this 
copy  which  may  be  bibliographically  unique, 
which  may  alter  any  of  the  images  in  the 
reproduction,  or  which  may  significantly  change 
the  usual  method  of  filming,  are  checked  below. 


D 
D 
D 


Coloured  covers/ 
Couverture  de  couleur 

Covers  damaged/ 
Couverture  endommagde 

Covers  restored  and/or  laminated/ 
Couverture  restaur^e  et/ou  pellicul^e 

Cover  title  missing/ 

Le  titre  de  couverture  manque 


L'Institut  a  microfilm^  le  meilleur  exemplaire 
qu'il  lui  a  6t6  possible  de  se  procurer.  Les  details 
de  cet  exemp)  iire  qui  sont  peut-dtre  uniques  du 
point  de  vue  bibliographique,  qui  peuvent  modifier 
une  image  reproduite,  ou  qui  peuvent  exiger  une 
modification  dans  la  m^thode  normale  de  filmage 
sont  indiqu6s  ci-dessous. 


Coloured  pages/ 
Pages  de  couleur 

Pages  damaged/ 
Pages  endommag^es 


■f 


I      ]    Pages  restored  and/or  laminated/ 


Pages  restaur^es  et/ou  pellicul6es 

Pages  discoloured,  stained  or  foxed/ 
Pages  d^color^es,  tachet^es  ou  piqu^es 


I      I    Coloured  maps/ 


D 


D 
D 


D 


Cartes  g^ographiques  en  couleur 


Coloured  ink  (i.e.  other  than  blue  or  black)/ 
Encre  de  couleur  (i.e.  autre  que  bleue  ou  noire) 


□    Coloured  plates  and/or  illustrations/ 
Plane 


iches  et/ou  illustrations  en  couleur 


Bound  with  other  material/ 
Relid  avec  d'autres  documents 

Tight  binding  may  cause  shadows  or  distortion 
along  interior  margin/ 

La  reliure  serree  peut  causer  de  I'ombre  ou  de  la 
distortion  le  long  de  la  marge  int<^rieure 

Blank  leaves  added  during  restoration  may 
appear  within  the  text.  Whenever  possible,  these 
have  been  omitted  from  filming/ 
II  se  peu    que  certaines  pages  blanches  ajout^es 
lors  d'une  /estauration  apparaissent  dans  le  texte, 
mais,  lorsque  cela  6tait  possible,  ces  pages  n'ont 
pas  6t6  film^es. 


□ 
D 
D 
D 
□ 


Pages  detached/ 
Pages  d^tach^es 

Showthrough/ 
Transparence 

Quality  of  print  varies/ 
Quality  indgale  de  I'impression 

Includes  supplementary  material/ 
Comprend  du  materiel  supplementaire 

Only  edition  available/ 
Seule  Edition  disponible 

Pages  wholly  or  partially  obscured  by  errata 
slips,  tissues,  etc.,  have  been  refilmed  to 
ensure  the  best  possible  image/ 
Les  pages  totalement  ou  partiellement 
obscurcies  par  un  feuillet  d'errata,  une  pelure, 
etc.,  ont  6t6  film^es  d  nouveau  de  fagon  d 
obtenir  la  meilleure  image  possible. 


Additional  comments:/ 
Commentaires  suppl^mentaires; 


This  item  is  filmed  at  the  reduction  ratio  checked  below/ 

Ce  docur^ent  est  filmd  au  taux  de  reduction  indiqu^  ci-dessous. 

10X  14X  18X  22X 


26X 


SOX 


X 


12X 


16X 


20X 


24X 


28X 


32X 


Claire 
^s  details 
jques  du 
It  modifier 
(iger  une 
ie  filmage 


»d/ 
iqu§es 


ntaire 


id  by  errata 
ilmed  to 

ment 

I,  une  pelure, 

e  fapon  d 

Ie. 


^; 


The  copy  filmed  here  has  been  reproduced  thanks 
to  the  generosity  of: 

Library  of  Congress 
Photoduplication  Service 

The  irnages  appearing  here  are  the  best  quality 
possible  considering  the  condition  and  legibility 
of  the  original  copy  and  in  keeping  with  the 
filming  contract  specifications. 


Original  copies  in  printed  paper  covers  are  filmed 
beginning  with  the  front  cover  and  ending  on 
the  last  page  with  a  printed  or  illustrated  impres- 
sion, or  the  back  cover  when  appropriate.  All 
other  Original  copies  are  filmed  beginning  on  the 
first  page  with  a  printed  or  illustrated  impres- 
sion, and  ending  on  the  last  page  with  a  printed 
or  illustrated  impression. 


The  last  recorded  frame  on  each  microfiche 
shall  contain  the  symbol      m   (meaning  "CON- 
TINUED"j,  or  the  symbol  V  (meaning  "END"), 
whichever  applies. 

Maps,  plates,  charts,  etc.,  may  be  filmed  at 
different  reduction  ratios.  Those  too  large  to  be 
entirely  included  in  one  exposure  are  filmed 
beginning  in  the  upper  left  hand  corner,  left  to 
right  and  top  to  bottom,  as  many  frames  as 
required.  The  following  diagrams  illustrate  the 
method: 


1 

2 

3 

L'exemplnire  film6  fut  reproduit  grSce  d  la 
g6n6rositd  de: 

Library  of  Congress 
Photoduplication  Service 

Les  images  suivantes  ont  6t6  roproduites  avec  Ie 
plus  grand  soin,  compte  tenu  de  la  condition  et 
de  la  nettet6  de  I'exemplaire  film6,  et  en 
conformitd  avec  les  conditions  du  contrat  de 
filmage. 

Les  exemplniros  originaux  dont  la  couverture  en 
papier  est  imprim6e  sont  film6s  on  commenpant 
par  Ie  premier  plat  et  en  terminant  soit  par  la 
dernidre  page  qui  comporte  une  empreinte 
d'impression  ou  d'illustration,  soit  par  Ie  second 
plat,  selon  Ie  cas.  Tous  les  autres  exemplaires 
originaux  sont  film6s  en  commenpant  par  la 
premidre  page  qui  comporte  une  empreinte 
d'impression  ou  d'illustration  et  en  terminant  par 
la  derni^re  page  qui  comporte  une  telle 
empreinte. 

Un  des  symboles  suivants  apparaitra  sur  la 
dernidre  image  de  chaque  microfiche,  selon  Ie 
cas:  Ie  symbole  — ^  signifie  "A  SUIVRE",  Ie 
symbole  V  signifie  "FIN". 

Les  cartes,  planches,  tableaux,  etc.,  peuve"t  fitre 
film^s  d  des  taux  de  reduction  diffdrents. 
Lorsque  Ie  document  est  trop  grand  pour  etre 
reproduit  en  un  seul  cliche,  il  est  film^  d  partir 
de  Tangle  sup6rieur  gauche,  de  gauche  d  droite, 
et  de  haut  en  bas,  en  prenant  Ie  nombre 
d'images  n^cessaire.  Les  diayrammes  suivants 
illustrent  la  m6thode. 


32X 


1 

2 

3 

4 

5 

6 

fr^ 


■■■ 


^"' 


F 


FLORENCE 


GRANT  ALLEN'S  HISTORICAL  GUIDE 
BOOKS  TO  THE  PRINCIPAL  CITIES  OF 
EUROPE  TREATING  CONCISELY  AND 
THOROUGHLY  OF  THE  PRINCIPAL 
HISTORIC  AND  ARTISTIC  POINTS 
OF   INTEREST  THEREIN 


NEW  YORK 

A.  WESSELS  COMPANY 
1900 


i 


>  ...-■,  ^^.>.«»S»«*<W*«*S»<''«i'»l*»M'SB»*A»«''>»'' 


\ 


>5 


5^ 


t 

,1 


INTRODUCTION 


THE  object  and  plan  of  these  Historical  Handbooks  is 
somewhat  different  from  that  of  any  other  guides  at 
present  before  the  public.  They  do  not  compete  or  clash 
with  such  existing  works ;  they  are  rather  intended  to 
supplement  than  to  supplant  them.  My  purpose  is  not  to 
direct  the  stranger  through  the  streets  and  squares  of  an 
unknown  town  towards  the  buildings  or  sights  which  he 
may  desire  to  visit ;  still  less  is  it  my  design  to  give  him 
practical  information  about  hotels,  cab  fares,  omnibuses,  tram- 
ways, and  other  every-day  material  conveniences.  For  such 
details,  the  traveller  must  still  have  recourse  to  the  trusty 
pages  of  his  Baedeker,  his  Joanne,  or  his  Murray.  I  desire 
rather  to  supply  the  tourist  who  wishes  to  use  his  travel  as  a 
means  of  cultu-e  with  such  historical  and  antiquarian  in- 
formation as  will  enable  him  to  understand,  and  therefore  to 
enjoy,  the  architecture,  sculpture,  painting,  and  minor  arts  of 
the  towns  he  visits.  In  one  word,  it  is  my  object  to  give  the 
reader  in  a  very  compendious  form  the  result  o*"  all  those 
inquiries  which  have  naturally  suggested  themselves  to  my 
own  mind  during  thirty-five  years  of  foreign  travel,  the  solution 
of  which  has  cost  myself  a  good  deal  of  research,  thought,  and 
labour,  beyond  the  facts  which  I  could  find  in  the  ordinary 
handbooks. 

For  several  years  past  I  have  devoted  myself  to  collecting 
and  arranging  material  for  a  set  of  books  to  embody  the  idea 


/,.  ||^^,^«««a,»ia««««l»SM!lBa«»&^^  ,**»ia*>*v&*^i 


-.Jwie^ 


INTRODUCTION 


I  had  thus  entertained.  I  earnestly  hope  they  may  meet  a 
want  on  the  part  of  tourists,  especially  Americans,  who,  so  far 
as  my  experience  goes,  usually  come  to  Europe  with  an  honest 
and  reverent  desire  to  learn  from  the  Old  World  whatever  of 
value  it  has  to  teach  them,  and  who  <tre  prepared  to  take  an 
amount  of  pains  in  turning  their  trip  to  good  account  which 
is  both  rare  and  praiseworthy  For  such  readers  I  shall  call 
attention  at  times  to  other  sources  of  information. 

These  guide  books  will  deal  more  particularly  with  the  Great 
Towi  s  where  objects  of  art  and  antiquity  are  numerous. 
In  every  one  of  them,  the  general  plan  puisued  will  be  some- 
what as  follows.  First  will  come  the  inquiry  why  a  town  ever 
gathered  together  at  all  at  that  particular  spot — what  induced 
the  aggregation  of  human  beings  rather  there  than  elsewhere. 
Next,  we  shall  consider  why  that  tov.n  grew  to  social  or  political 
importance  and  what  were  the  stages  by  which  it  assumed  its 
present  shape.  Thirdly,  we  shall  ask  why  it  gave  rise  to  that 
higher  form  of  handicraft  which  we  know  as  Art,  and  towards 
what  particular  arts  it  especially  gravitated.  After  that,  we 
shall  take  in  detail  the  various  strata  of  its  growth  or  develop- 
ment, examining  the  buildings  and  works  of  art  which  they 
contiin  in  historical  order,  and,  as  far  as  possible,  tracing  the 
causes  which  led  to  their  evolution.  In  particular,  we  shall 
lay  stress  upon  the  origin  and  meaning  of  each  structure  as 
an  organic  >vhole,  and  upon  the  allusions  or  symbols  which 
its  fabric  embodies. 

A  single  instance  will  show  the  method  upon  which  I  intend 
to  proceed  better  than  any  amount  of  general  description. 
A  church,  as  a  rule,  is  built  over  the  body  or  relics  of  a 
particular  saint,  in  whose  special  honour  it  was  originally 
erected.  That  saint  was  usually  one  cf  great  local  importance 
at  the  moment  of  its    erection,   or    was  peculiarly  implored 


^.•r-^.^TwwsswKsavRftiKM^asi,'-'.  ■« 


INTRODUCTION 


ey  may  meet  a 
ans,  who,  so  far 
e  with  an  honest 
Torld  whatever  ot 
pared  to  take  an 
d  account  which 
dors  1  shall  call 
ion. 

ly  with  the  Great 
y   are   numerous. 
ueci  will  be  some- 
why  a  town  ever 
)ot — what  induced 
e  than  elsewhere, 
social  or  political 
ch  it  assumed  its 
it  gave  rise  to  that 
s  Art,  and  towards 
After  that,  we 
giowth  or  develop- 
of  art  which  they 
oisible,  tracing  the 
jarticular,  we  shall 
each  structure  as 
or  symbols  which 

)on  which  I  intend 
eneral  description, 
ody  or  relics  of  a 
r  it  was  originally 
at  local  importance 
peculiarly  implored 


fjifisrstimiimfiv 


against  plague,  foreign  enemies,  or  some  other  presiting  and 
dreaded  misfortune.  In  deahng  with  such  a  church,  then,  I 
endeavour  to  show  what  were  the  circumstances  which  led  to 
its  erection,  and  what  memorials  of  these  circumstances  it  still 
retains.  In  other  cases  it  may  derive  its  jrigin  from  som<! 
special  monastic  body— Benedictine,  Dominican,  Franciscan — 
and  may  therefore  be  'mII  of  the  peculiar  symbolism  and  his- 
torical allusion  of  the  Okder  who  founded  it.  Wherever  I  have 
to  deal  with  such  a  church,  I  try  as  far  as  possible  to  exhibit 
the  effect  which  its  origin  had  upon  its  architecture  and  decora- 
tion ;  to  trace  the  image  of  »he  patron  saint  in  sculpture  or 
stained  glass  throughout  the  fabric  ;  and  to  set  forth  the  con- 
nection of  the  whole  design  with  time  and  place,  with  order 
and  purpose.  In  short,  instead  of  looking  upon  monuments 
of  the  sort  mainly  as  the  product  of  this  or  that  architect,  I 
look  upon  them  rather  as  material  embodiments  of  the  spirit 
of  the  lage — crystallizations,  as  it  were,  in  stone  and  bronze,  in 
form  and  colour,  of  great  popular  enthusiasms. 

By  thus  concentrating  attention  on  what  is  essential  and 
important  in  a  to.vn,  I  hope  to  give  in  a  comparatively  short 
space,  though  with  inevitable  conciseness,  a  fuller  account  than 
is  usually  given  of  the  chief  architectural  and  monumental 
works  of  the  principal  art-cities.  In  dealing  with  Paris,  for 
example,  I  shall  have  little  to  say  about  such  modern  con- 
structions as  the  Champs  Elys^s  or  the  Eiffel  Tower;  still 
less,  of  course,  about  the  Morgue,  the  Catacombs,  the  wa.xworks 
of  the  Mus^e  Gr^vin,  and  the  celebrated  Excursion  in  the  Paris 
Sewers.  The  space  thus  saved  from  vulgar  wonders  I  shall 
hope  to  devote  to  fuller  explanation  of  Notre-Dame  and  the 
Sainte  Chapelle,  of  the  medi9*val  carvings  or  tapestries  of 
Cluny,  and  of  the  pictures  or  sculptures  in  the  galleries  of  the 
Louvre.     Similarly  in  Florence,  whatever  I  save  from  descnp- 


I 


8 


INTRODUCTION 


tion  of  the  Casrine  and  even  of  the  beautiful  Viale  dei  Coin 
(where  explanation  is  needless  and  word-painting  superfluous), 
I  shall  ({ive  up  to  the  ftargello,  the  Uffizi,  and  the  I'itti  I'alace. 
The  passing  life  of  the  moment  does  not  enter  into  my  plan  ; 
I  regard  each  town  I  endeavour  to  illustrate  mainly  as  a 
museum  of  its  own  history 

For  this  reason,  too,  I  shall  devote  most  attention  in  eveiy 
case  to  what  is  locally  illustrative,  and  less  to  what  is  me'^ly 
adventitious  and  foreign.  In  Paris,  for  instance,  I  shall  have 
more  to  say  about  truly  Parisian  art  and  history,  as  embodied 
in  St.  Denis,  the  lie  de  la  Citd,  and  the  shrine  of  Ste.  Genevieve, 
than  about  the  Egyptian  and  Assyrian  collections  of  the  Louvre. 
In  Florence,  again,  I  shall  deal  rather  with  the  Etruscan  re- 
mai.\s,  with  Giotto  and  Fra  An^elico,  with  the  Duomo  and  the 
Campanile,  than  with  the  admirable  Memlincks  and  Rubenses 
of  the  Uffizi  and  the  Pitti,  or  with  the  beautiful  Van  der  Goes 
of  the  Hospital  of  Santa  Maria.  In  Bruges  and  Brussels, 
once  more,  I  shall  be  especially  Flemish  ;  in  the  Rhine  towns, 
Rhenish  ;  in  Venice,  Venetian.  I  shall  assign  a  due  amount 
of  space,  indeed,  to  the  foreign  collections,  but  I  shall  call 
attention  chiefly  to  those  monuments  or  objects  which  are  of 
entirely  local  and  typical  value. 

As  regards  the  character  of  the  information  given,  it  will  be 
mainly  historical,  antiquarian,  and,  above  all,  explanatory. 
I  am  not  a  connoisseur — an  adept  in  the  difficult  modern 
science  of  distinguishing  the  handicraft  of  various  masters,  in 
painting  or  sculpture,  by  minute  signs  and  delicate  inferential 
processes.  In  such  matters,  I  shall  be  well  content  to  follow 
the  lead  of  the  most  authoritative  experts.  Nor  am  I  an  art- 
critic — a  student  versed  in  the  technique  of  the  studios  and  the 
dialect  of  the  modelling-room.  In  such  matters,  again,  I  shall 
attempt  little  more  than  to  accept  the  general  opinion  of  the 


•"■      ■'-'■■M-»l%:^i\^,J^^fjf^^J^(^Ti 


1 


il  Vialedei  Colli 
tiMK  superfluous), 
the  I'itti  Palace. 
[CI  into  my  plan  j 
ate   mainly  ns  a 

attention  in  eveiy 

o  what  is  mc'^iy 

inre,  I  shall  have 

iory,  as  embodied 

of  Ste.  Genevieve, 

ons  of  the  Louvre. 

the  Etruscan  re- 

e  Duomo  and  the 

L'ks  and  Rubenses 

ful  Van  der  Goes 

<es  and   Brussels, 

the  Rhine  towns, 

ign  a  due  amount 

,  but    I   shall  call 

jects  which  are  of 

in  given,  it  will  be 
;  all,  explanatory. 
E  difficult  modem 
various  masters,  in 
delicate  inferential 
1  content  to  follow 
Nor  am  I  an  art- 
the  studios  and  the 
tters,  again,  I  shall 
;ral  opinion  of  the 


INTRODUCTION  9 

mfnt  discriminative  Judges.  What  I  aim  at  rather  is  to  expound 
the  history  and  meaning  of  each  work— to  put  the  intelligent 
reader  in  such  a  position  that  he  may  judge  for  himself  of  (he 
(esthetic  beauty  and  success  of  the  object  before  him.  To 
recognif.  the  fact  that  this  is  a  Perseus  and  Andromeda,  that 
\  .St.  Barbara  enthroned,  the  other  an  obscure  episode  in  the 
legend  of  St.  I'hilip,  is  not  art-criticism,  but  it  is  often  an  almost 
indispensable  prelude  to  the  formation  of  a  right  and  sound 
judgment.  We  must  know  what  the  artist  was  trying  to  re|»re- 
sent  before  we  can  fee'  sure  what  measure  of  success  he  has 
attained  in  his  representation. 

For  the  general  study  of  Christian  art,  alike  in  architecture, 
sculpture,  and  painting,  no  treatises  are  more  useful  for  the 
tourist  to  carry  with  him  for  constant  reference  than  Mrs. 
Jameson's  Sacred  and  Legendary  Art,  and  Legends  of  the 
Madonna  (London,  Longmans).  For  works  of  Italian  art,  both 
in  Italy  and  elsewhere,  Kugler's  Italian  Schools  of  Painting  is 
an  invaluable  vade-mecum.  These  books  should  be  carried 
about  by  everybody  everywhere.  Other  works  of  special  and 
loc.-il  importance  will  occasionally  be  noticed  under  each  par- 
ticular city,  church,  or  museum. 

I  cannot  venture  to  hope  that  handbooks  containing  such 
a  mass  of  facts  as  these  will  be  wholly  free  from  errors  and 
misstatements,  abov;  all  in  early  editions.  I  can  only  beg 
those  who  may  detect  any  such  to  point  them  out,  without 
unnecessary  harshness,  to  the  author,  care  of  the  publisher, 
and  if  possible  to  assign  reasons  for  any  dissentient  opinion. 


(•;»%.  g^'ja.iaiSMtJ-' 


Introduction 

How  TO  USB  THES 

Origins  of  Florei 

I    Santa  Cro 

II    Santa  Mas 
Quarter 

III  The  Cathe 

IV  The  Secon 

V  Tnn  Belle 

VI  TiiE  Uffiz 

VII  The  Iitti 

VIII  The  Bargi 
IX    Or  San  M 

X  San  Mini/ 

XI  The  Etru 

XII  The  Resi 


. 


CONTENTS 


lUTROOyCTION 

How  TO  Use  thesh  Guide-Books 

Origins  of  Florence 

I    Santa  Croce  and  the  Franciscan  Quarter 
II    Santa  Maria  Novella  and  the  First  Dominican 
Quarter  

III  The  Cathedral  Group 

IV  The  Second  Dominican  Quarter  :  San  Marco    . 

V  Tnrt  Belle  Arti 

VI  TiiE  Uffizi,  Etc 

VII  The  Iitti  Palace 

VIII  The  Bargello 

IX    Or  San  Michele 

X  San  Miniato 

XI  The  Etruscan  Museum 

XII  The  Residuum 


rAGB 

5 

12 

13 
18 

33 

52 

72 

88 

128 

184, 

205 

223 

,     230 

,     238 

.     244 


U 


Xi^^^i'^'^-'^-'-^-^i^i't^ikitfiii^^'hi^Mi^^^^^^^ 


'J'irJ>^T:^.;iH-^l'^ 


I 


ia 


HOW   TO 


USE   THESE 
BOOKS 


GUIDE- 


rHE  portions  of  this  book  intended  to  be  read  at 
leisure  at  home,  before  proceeding  to  explore  each 
toivn  or  monument,  are  enclosed  in  brackets  \thus\ 
The  portion  relating  to  each  principal  object  should 
be  quietly  read  and  digested  before  a  visit,  and  re- 
ferred to  again  aftenvards.  The  portion  to  be  read  on 
the  spot  is  made  as  brief  as  possible,  and  is  printed  in 
large  legible  type,  so  as  to  oi  easily  read  in  the  dim  light  of 
churches,  chapels,  and  galleries.  7)^d' Icey-note  words  arir 
printed  in  bold  type,  to  catch  the  eye.  Where  objects  are 
numbered,  the  numbers  used  are  always  those  of  the  latest 
official  catalogues. 

Baedeker's  Guides  are  so  printed  that  each  principal  por- 
tion can  be  detached  entire  from  the  volume.  The  traveller 
who  uses  Baedeker  is  advised  to  carry  in  his  pocket  one 
such  portion,  referring  to  the  place  he  is  then  visiting,  to- 
gether with  the  plan  of  the  town,  while  carrying  this  book 
in  his  hand.  These  Guides  do  not  profess  to  supply  prai,- 
tical  information. 

Individual  works  oj  merit  are  distinguished  by  an  aster- 
isk (*)  /  those  of  very  exceptional  interest  and  merit  have 
two  asterisks.  Nothing;  is  noticed  in  this  book  which  does 
not  seem  to  the  writer  worthy  of  attention. 

See  little  at  a  time,  and  see  it  thoroughly.  Never  attempt 
to  "do"  any  place  or  any  monument.  By  following  strictly 
the  order  in  which  objects  are  noticed  in  this  book,  you  will 
gain  a  conception  of  tlie  historical  evolution  of  the  town 
which  you  cannot  obtain  if  you  go  about  looking  at  churches 
and  palaces  hap-hazard.  The  order  is  arranged,  not  quite 
chronologically,  but  on  a  definite  plan,  which  great  lyfacili- 
tates  comprehension  of  the  subject. 


I 


GUIDE- 


^.d  to  be  read  at 
\g  to  explore  each 
n  brackets  \thus\ 
1  object  should 
%  visit,  and  re- 
on  to  be  read  on 
ind  is  printed  in 
n  the  dim  light  of 
-note  words  are 
Where  objects  are 
'hose  of  the  latest 

ach  principal  por- 
ne.  The  traveller 
in  his  pocket  one 
:  then  visiting,  to- 
carrying  this  book 
rss  to  supply  prai.- 

ished  by  an  aster- 
t  and  merit  have 
is  book  which  does 
n. 

V.  Never  attempt 
>  following  strictly 
this  book,  you  will 
ution  of  the  town 
looking  at  churches 
•rranged,  not  quite 
<hich  great  lyfacili- 


ORIGINS   OF    FLORENCE 

ONLY  two  considerable  rivers  flow  from  the  Apen- 
nines westward  into  the  Mediterranean.    The  Tiber 
makes  Rome ;  the  Arao  makes  Florence. 

In  prehistoric  and  early  historic  times,  the  mountainous 
region  which  forms  the  basin  of  these  two  rivers  was 
occupied  by  a  gifted  military  race,  the  Etruscans,  who 
possessed  a  singular  assimilative  power  for  Oriental  and 
Hellenic  culture.  Intellectually  and  artistically,  they  were 
the  pick  of  Italy.  Their  blood  still  runs  in  the  veins  of  the 
people  of  Tuscany.  Almost  every  great  thing  done  in  the 
Peninsula,  in  ancient  or  modern  times,  has  been  done  by 
Etruscan  hands  or  brains.  The  poets  and  painters,  in 
particular,  with  few  exceptions,  have  been,  in  the  wide 
ethnical  sense,  Tuscans. 

The  towns  of  ancient  Etruria  were  hill-top  strongholds. 
Florence  was  not  one  of  these  ;  even  its  neighbour,  Fiesole 
(Faesulae)  did  not  rank  among  the  twelve  great  cities  of  the 
Etruscan  league.  But  with  the  Roman  conquest  and  the 
Roman  peace,  the  towns  began  to  descend  from  their 
mountain  peaks  into  the  river  valleys ;  roads  grew  impor- 
tant, through  internal  trade ;  and  bridges  over  rivers 
assumed  a  fresh  commeicial  value.  Florence  (Florentia), 
probably  founded  under  Sulla  as  a  Roman  municipium, 
upon  a  Roman  road,  guarded  the  bridge  across  the  Amo, 
and  gradually  absorbed  the  population  of  Fiesole.  Under 
the  later  empire,  it  was  the  official  residence  of  the  "  Cor- 
rector" of  Tuscany  and  Umbria.  During  the  Middle  Ages, 
it  became  for  all  practical  purposes  the  intellectual  and 
artistic  capital  of  Tuscany,  inheriting  in  full  the  remark- 
able mental  and  aesthetic  excellences  of  the  Etruscan  race. 

18 


% 


fS'S^fM^^' 


I^M^i 


■•«-l' 


14 


FLORENCE 


The  valley  of  the  Arno  is  rich  and  fertile,  bordered  by 
cultivable  hills,  which  produce  the  famous  Chianti  wine. 
It  was  thus  predestined  by  nature  as  the  seat  of  the  second 
city  on  the  west  slope  of  Italy.     Florence,  however,  was  not 
always  that  city.    The  seaport  of  Pisa  (now  silted  up  and 
superseded  by  Leghorn)  first  rose  into  importance ;  possessed 
a  powerful  fleet ;  made  foreign  conquests  ;  and  erected  the 
magnificent  group  of  buildings  just  outside  the  town  which 
still  form  its  chief  claim  upon  the  attention  of  tourists.     But 
Florence  with  its  bridge  commanded  the  inland  trade,  and 
the  road  to  Rome  from  Germany.    After  the  destruction  ol 
Fiesole  in  1125,  it  grew  rapidly  in  importance;  and,  Pisa 
having  sustained  severe  defeats  from  Genoa,  the  inland 
town  soon  rose  to  supremacy  in  the  Arno  basin.    Nominally 
subject  to  the  Emperor,  it  became  practically  an  independ- 
ent republic,  much  agitate'  by  internal  quarrels,  but  capable 
of  holding  its  own  against  neighbouring  cities.     Its  chief 
buildings  are  thus  an  age  or  two  later  than  those  of  Pisa ; 
it  did  not  begin  to  produce  splendid  churches  and  palaces, 
in  emulation  of  those  of  Pisa  and  Siena,  till  about  the  close 
of  the  13th  century.    To  the  same  period  belongs  the  rise 
of  its  literature,  under  Dante,  and  its  painting  under  Giotto. 
This  epoch    of  rapid    commercial,    military,  and    artistic 
development  forms  the  main  glory  of  early  Florence. 

The  fourteenth  century  is  chiefly  interesting  at  Florence 
as  the  period  of  Giottesque  art,  finding  its  final  crown  in  Fra 
Angelico.    With  the  beginning  of  the  1 5th,  we  get  the  dawn 
of  the  Renaissance— the  age  when  art  set  out  once  more 
to  recover  the  lost  perfection  of  antique  workmanship.     In 
literature,  this  movement  took  the  form  of  humanism  ;  in 
architecture  and  sculpture,  it  exhibited  itself  in  the  persons 
of  Alberti,  Ghiberti,  Delia  Robbia,  and  Donatelio  ;  in  paint- 
.r.g  it  showed  itself  in  Lippi,  Botticelli,  Ghirlandajo,  and 
Ver.-occhio.     I  shall  not    attempt  to  set  forth    here  the 
gradual  stages  by  which  these  arts  advanced  to  the  height 
at    length    attained    by  Leonardo,   Michael    Angelo,  and 
Raphael ;  I  shall  take  it  for  granted  that  my  readers  will 
read  up  sudi  questions  for  themselves  in  Kugler  and  Layard 


'Mmn 


'l"«'.<'»<i»;jl,'l,%i^'AtJ'-'->.l.ri4S#'-'' 


ORIGINS  OF  FLORENCE 


15 


fertile,  bordered  by 
nous  Chianti  wine. 
e  seat  of  the  second 
:e,  however,  was  not 

(now  silted  up  and 
iportance ;  possessed 
its  ;  and  erected  the 
side  the  town  which 
ion  of  tourists.  But 
the  inland  trade,  and 
er  the  destruction  ol 
iportance ;  and,  Pisa 
Genoa,  the  inland 
10  basin.  Nominally 
:tically  an  independ- 

quarrels,  but  capable 
ing  cities.  Its  chief 
•  than  those  of  Pisa ; 
hurches  and  palaces, 
1,  till  about  the  close 
riod  belongs  the  rise 
)ainting  under  Giotto, 
nilitary,  and  artistic 
larly  Florence, 
teresting  at  Florence 

its  final  crown  in  Fra 
1 5th,  we  get  the  dawn 
rt  set  out  once  more 
ue  workmanship.  In 
irm  of  humanism  ;  in 
1  itself  in  the  persons 
i  Donatello  ;  in  paint- 
elli,  Ghirlandajo,  and 
J  set  forth  here  the 
dvanced  to  the  height 
Michael    Angelo,  and 

that  my  readers  will 

in  Kugler  and  Layard 


feSfeS'-iiiS'^'' 


or  other  high-class  authorities.  Nor  shall  I  endeavour  to 
trace  the  rise  of  the  dynasty  of  the  Medici,  whose  influence 
was  so  great  upon  the  artistic  expression  of  their  country  ; 
the  limits  of  space  which  I  have  imposed  upon  myself  here 
render  such  treatment  impossible.  I  will  rather  proceed  at 
once  to  my  detailed  examination  of  the  chief  existing 
monuments  of  Florence  in  roughly  chronological  order, 
leaving  these  other  facts  to  exhibit  themselves  piecemeal 
in  their  proper  place,  in  connection  with  the  buildings  or 
pictures  of  the  city.  For  in  Florence  more  than  elsewhere 
I  must  beg  the  reader  to  excuse  the  needful  brevity  which 
the  enormous  mass  of  noble  works  to  be  explained  in  this 
richest  of  art-cities  inevitably  entails  upon  me. 

We  start,  then,  with  the  fact  that  up  to  nearly  the  close  of 
the  13th  century  (1278)  Florence  was  a  comparatively  small 
and  uninteresting  town,  without  any  buildings  of  importance, 
save  the  relatively  insignificant  Baptistery ;  withv^ut  any 
great  cathi  dral,  like  Pisa  and  Siena  ;  without  any  splendid 
artistic  achievement  of  any  kind.  It  consisted  at  that  period 
of  a  labyrinth  of  narrow  streets,  enclosing  huddled  houses 
and  tall  towers  of  the  nobles,  like  the  two  to  be  seen  to  this 
day  at  Bologna.  In  general  aspect,  it  could  not  greatly 
have  differed  from  Albenga  or  San  Gimignano  in  our  ova 
time.  But  commerce  was  active  ;  wealth  was  increasing  ; 
and  the  population  was  seething  with  the  intellectual  and 
artistic  spirit  of  its  Etruscan  ancestry.  During  the  lifetime 
of  Dante,  the  town  began  to  transform  itself  and  to  prepare 
for  becoming  the  glorious  Florence  of  the  Renaissance 
artists.  It  then  set  about  building  two  immense  and  beauti- 
ful churches— Santa  Croce  and  Santa  Maria  Novella- 
while,  shortly  after,  it  grew  to  be  ashamed  of  its  tiny  San 
Giovanni  (the  existing  Baptistery),  and  girded  itself  up  to 
raise  a  superb  Cathedral,  which  should  cast  into  the  shade 
both  the  one  long  since  finished  at  maritime  Pisa,  and  the 
one  then  still  rising  to  completion  on  the  height  of  Siena. 

Florence  at  that  time  extended  no  further  than  the  area 
known  as  Old  Florence,  extending  from  the  Ponte  Vecchio 
to  the  Cathedral  in  one  direction,  and  from  the  Ponte  alia 


I      iii>^.i|t  iiifjjiHi  it^tf^»t 


1 


l6 


FLORENCE 


%.. 


Carraja  to  the  Grazie  in  the  other.    Outside  the  wall  lay  a 
belt  of  fields  and  gardens,  in  which  one  or  tv/o  monasteries 
had  already  sprung  up.    But   Italy  at  that  moment  was 
filled  with  religious  enthusiasm  by  the  advent  of  the  Friars, 
both    great    orders  of  whom,    the    Franciscans    and    the 
Dominicans,    had    already  established  themselves  in  the 
rising  commercial   city    of   Florence.      Both   orders    had 
acquired  sites  for  monastic  buildings  in  the  space  outside 
the  walls,  and  soon  began  to  erect  enormous  churches.    The 
Dominicans  came  first,  with  Santa  Maria  Novella,  the  com- 
mencement of  which  dates  from  1278  ;  the  Franciscans  were 
a  little  later  in  the  field,  with  Santa  Croce,  the  first  stone 
not    being    placed   till    1294.      Nevertheless,    though    the 
Dominican  church  is  thus  a  few  years  the  earlier  of  the  two, 
1  propose  to  begin  my  survey  of  the  town  with  its  Francis- 
can rival,  because  the  paintings  and  works  of  art  of  Santa 
Croce  are  older  on  the  whole  than  those  of  Santa  Maria, 
and  because  the  tourist  is  thus  better  introduced  f    the 
origins  and  evolution  of  Florentine  art. 
Remember,  in  conclusion,  that  Florence  in  Dante's  day 
•as  a  small  town,  with  little  beauty,  and  no  good  building 
save  the  (since  much  embellished)   Baptistery  ;   but  that 
during  Dante's  lifetime  the  foundations  were  laid  of  Santa 
Maria,  Santa  Croce,  and  the  great  Cathedral.    We  shall 
have  to  trace  the  subsequent  development  of  the  town  from 
these  small  beginnings. 

The  Roman  name  Florentia  passed  into  Fiorenza  in 
mediaeval  times,  and  is  now  Firenze. 

From  a  very  early  date,  St.  John  Baptist  (to  whom  the 
original  Cathedral  was  dedicated)  has  been  t'-e  patron 
saint  of  Florence.  Whenever  you  meet  him  in  Florentine 
art,  he  stands  for  the  city,  as  St.  Mark  does  for  Venice,  or 
the  figure  of  Britannia  for  our  own  island. 

St.  Cosmo  and  St.  Damlan,  the  holy  doctors,  and 
therefore  patron  saints  of  the  Medici  family,  and 
especially  of  Cosmo  de'  Medici,  also  meet  us  at  every  turn. 
They  represent  the  ruling  family,  and  may  be  recognised 
by  their  red  robes  and  caps,  and  their  surgical  instruments. 


WWWWS'K' 


side  the  wall  lay  a 

|or  two  monasteries 

that  moment  was 

Iveni  oftJie  Priara, 

nciscaiis    and    the 

themselves   in  the 

Both    orders    had 

the  space  outside 

ous  churches.    The 

la  Novella,  the  com- 

,e  Franciscans  were 

roce,  the  first  stone 

heless,    though    the 

»e  earlier  of  the  two, 

m  with  its  Francis- 

orks  of  art  of  Santa 

)se  of  Santa  Maria, 

it  introduced  t'    the 

ence  in  Dante's  day 
nd  no  good  building 
baptistery  ;  but  that 
i  were  laid  of  Santa 
lathedral.  We  shall 
ent  of  the  town  from 


Bd   into  Fiorenza 


m 


baptist  (to  whom  the 
s  been  f'e  patron 
sei  him  in  Florentine 
does  for  Venice,  or 
id. 

!  holy  doctors,  and 
iedicl  family,  and 
neet  us  at  every  turn. 
i  may  be  recognised 
surgical  instruments. 


ORIGINS  OF  FLORENCE 


17 


wwwsrasEsjsw-Ti 


Saint  Lawrence  is  also  a  great  Medici  Saint :  in  early  works, 
he  represents  Lorenzo  de'  Medici  the  elder,  the  brother  of 
Cosmo  (1395-1440:)  in  later  ones,  he  stands  for  Lorenzo  the 
Magnificent  (1449-92.)  Observe  for  yourself  which  of  the 
two  the  dates  in  each  case  show  to  be  intended. 

Santa  Reparata,  the  old  patroness  of  the  city,  and  San 
Zanobi,  its  sainted  bishop,  arc  also  frequent  objects  in  early 
painting  and  sculpture  in  Florence. 

If  you  visit  the  various  objects  in  the  order  here 
enumerated,  you  will  get  a  better  idea  of  the  development 
of  Florence  and  of  Florentine  art  than  you  could  possibly 
do  by  hap-hazard  sight-seeing.  Also,  you  will  find  the 
earlier  steps  explain  the  later.  But  there  can  be  no  harm 
in  examining  the  picture-galleries  side  by  side  with  the 
churches,  especially  if  dark  or  wet  days  confine  you  ;  pro- 
vided always  you  begin  with  the  Belle  Aril,  which 
contains  the  A  B  C  of  Tuscan  and  Umbrian  panel-painting. 
From  it  you  can  go  on  to  the  Uffizi  and  the  Pitti. 


■. 


IIII..-W imlWii  II   ' 


T 


1 

SANTA  CROCE 

AND  THE  FRANCISCAN  QUARTER 

PQT.  FRANCIS  of  Asslfll,  the  Apostle  of  the  Poor,  died 
LO     in  1226,  and  was  promptly  canonised  in  1228.     His 
followers  spread  at  once  over  every  part  of  Italy,  choosing  in 
each  town  the  poorest  quarters,  and  ministering  to  the  spiri- 
tual and  temporal  needs  of  the  lowest  classes.    They  were 
representa^ves  of  Works,  as  the  Dominicans  of  Faith.     In 
1294,    (some    16   years    later    than    the    Dominicans    at 
Santa  Maria  T^ovella)  they  began   to  erect  a  church  at 
Florence,  outsii  ^  the  walls,  on  the  poorer  side  of  the  city, 
dose  by  their  monastery.     It  was  dedicated  under  the  name 
of  Santa  Croce,  and  shortly  adorned  by  Giotto  and  his 
pupils  with  beautiful  frescoes,  the  finest  works  of  art  yet 
seen  in  Italy.     Two  things  must  thus  be  specially  borne  in 
mind  about  this  church:  (i)  it  is  a  church  of  the  Holy 
Cross,  whose  image  and  history  meet  one  in  it  at  every 
turn ;   (2)  it  is  a  Franciscan  church,  and  therefore  it  is 
largely  occupied  with  the  glorification  of  St.  Francis  and 
of  the  order  he  founded.    Their  coarse  brown  robes  appear 
in  many  of  the  pictures.     Look  out  for  their  great  saints, 
Bernardino  of  Siena,  Louis  of  Toulouse,  Antony  of  Padua, 

etc. 

The  Franciscans  were  a  body  of  popular  preachers. 
Hence,  in  their  church,  the  immense  nave,  which  includes 
the  pulpit,  was  especially  importint.  It  was  designed  to 
accommodate  large  numbers  of  hearers.  But  its  width  and 
empty  spaces  also  gave  free  room  for  many  burials  ;  whence 
Santa  Croce  became   one  of  the    principal    churches  in 


l.l 

Floi 
cog 
wh« 
wer 
a  s( 
liul 
cnl 
W.1 
lies 
abl 
esp 
fav 

the 
He 

the 

Ta 


do 
sti 
yo 
th 
ba 
w< 
fn 

e> 
th 
is 
in 
sr 
w 
tl 
¥ 
0 


r^Tr»;FTK!?aE'^i^^«SftSSS^f-W^W^V>^A^^'' 


JARTER 

e  of  the  Poor,  died 

sed  in  1228.     His 

F  Italy,  choosing  in 

taring  to  the  spiri- 

asses.    They  were 

:ans  of  Faith.     In 

e    Dominicans    at 

irect  a  church  at 

r  side  of  the  city, 

ed  under  the  name 

by  Giotto  and  his 

t  works  of  art  yet 

specially  borne  in 

turch  of  the  Holy 

one  in  it  at  every 

and  therefore  it  is 

of  St.  Francis  and 

rown  robes  appear 

their  great  saints, 

,  Antony  of  Padua, 

jopular  preachers, 
ve,  which  includes 
[t  was  designed  to 
But  its  width  and 
ly  burials ;  whence 
icipal   churches  in 


1.1 


SANTA   CROCE 


19 


Florence  for  interments.  In  time,  it  grew  to  be  the  re- 
cognised Pantheon  or  "  Westminster  Abbey"  of  the  town, 
where  men  of  literary,  scientific,  or  political  importance 
were  laid  to  rest ;  and  its  numerous  monuments  have  thus 
a  sentimental  interest  for  those  who  care  for  such  memorials, 
liut  it  would  be  a  gre.it  mistake  to  regard  Santa  Croce 
entirely  or  even  mainly  from  the  point  of  view  of  a  national 
Walhalla,  .is  is  too  often  done  by  tourists.  Its  real  interest 
lies  rather  in  the  two  points  noted  above,  and  in  the  admir- 
able works  of  art  with  which  it  is  so  abundantly  supplied, 
especially  in  the  chapels  of  the  various  great  families  who 
favoured  the  order. 

The  general  design  is  by  Arnolfo  di  Cambio,  who  at 
the  same  time  was  employed  in  designing  the  Cathedral. 
Begun,  1294  ;  finished,  1442.  It  is  the  best  museum  for 
the  Florentine  art  of  the  14th  century. 

See  it  by  morning  light.  Choose  a  bright  morning. 
Take  your  opera-glasses.] 

Go  past  the  Cathedral  and  the  Signoria,  and  then  dive 
down  the  narrow  Borgo  de'  Greci,  through  the  tangled 
streets  of  the  Old  Town,  (which  mte  as  characteristic)  till 
you  arrive  at  the  Piazza  Santa  Croce.  In  the  centre  of 
the  square  stands  a  modern  statue  of  Dante,  turning  his 
back  on  the  church  which  he  never  really  saw.  Its  walls 
were  only  rising  a  few  feel  high  when  the  poet  was  banished 
from  Florence. 

Proceed  first  to  the  north  side  of  the  church,  to  view  the 
exterior  of  the  mediaeval  building,  now  much  obscured  by 
the  later  Renaissance  loijgia.  Little  of  the  primitive  design 
is  at  present  visible.  Notice  the  bare  brick  architecture, 
intended  to  be  later  incased  in  marble.  Observe  also  the 
smallness.  infrequency,  and  height  from  the  ground  of  the 
windows,  and  the  extreme  difference  in  this  respect  from 
the  vast  stained-glass-containing  arches  of  northern  Gothic. 
Here,  the  walls  themselves  support  most  of  the  weight,  instead 
of  leaving  it  to  buttresses  as  in  France  and  England.  This 
wealth  of  wall,  however,  with  the  smallness  of  the  windows, 


^iJr 


30 


FLORENCE 


[1. 


permits  of  the  large  development  of  fresco-palntlng  within, 
which  is  characteristic  of  Italian  buildings  :  it  also  allows 
room  for  the  numerous  monuments.  Note  at  the  same 
time  the  short  transept  and  sma'.l  rose  window. 

Now,  go  round  again  to  the  front.     The  fai^ade,  long  left 
unfinished,  was  encrusted  with  marble  in  1857,  by  the  munifi- 
cence of        .  .Sloane,  an  Englishman,  after  a  Renaissance 
design.  '  .      to  be  by  Cronaca,  modified    by  the  modern 
archiu    ''li.  Matas.     The  nave  and  aisles  have   separate 
gables.    '  Notice,  throughout,  the  frequent  occurrence  of  the 
Holy  Cross,   sustained  over  the  main  gable  by  two  angels  ; 
flanked,  on  the  two  lesser  gables,  by  the  Alpha  and  Omega  ; 
and  re-appearing    many  times  elsewhere    in  the  general 
decoration.    The  modern  reliefs  over  the  doors  represent, 
L,  the  Discovery  of  the  True  Cross  (Sarrocchi :)  centre,  the 
Adoration  of  the  Cross  (Duprd :)  R,  the  Cross  appearing  in 
Heaven  to  Constantino,  and  so  imposing  itself  as  the  symbol 
of  the    official    religion  of    the   Roman  Empire   (Zucchi). 
Observe  the  fine  Renaissance  work  of  the  doorways,  with 
the  Alpha  and  Omega  again  displayed.    High  up  on  the 
front,  over  the  rose  window,  is  the  monogram  I HS,  intro- 
duced by  the  great   Franciscan  saint,  San  Bernardino  di 
Siena.     His  original  example   is  preserved  within.     The 
right  side  of  the  church  is  enclosed  by  the  former  buildings 
of  the  monastery. 

Now,  enter  the  church.  The  Interior  is  at  first  sight 
bare  and  simple  to  the  degree  of  positive  disappointment. 
The  Franciscans,  vowed  to  poverty,  were  not  a  wealthy 
body.  Begin  by  walking  up  the  centre  of  the  nave,  to 
observe  the  simple  aisles,  (with  no  side  chapels)  the  short 
transepts,  the  impressive  but  by  no  means  large  Gothic 
choir,  (of  Arnolfo's  period)  and  the  ten  chapels,  built  out 
from  the  transept,  as  in  continuation  or  doubling  of  the 
choir,  all  of  which  are  characteristic  features  of  this  age  of 
Italian  Gothic.  Each  of  these  chapels  was  the  property  of 
some  great  mediiBval  family,  such  as  the  Bardi  or  the 
Peruzzt.  Observe  also  the  plain  ham-like  wooden  roof,  so 
different  from  the  beautiful  stone  vaulting  of  northern  cathe- 


>■] 


ex 


■n"WM'(:»««y453S:" 


paintins  within, 
s  :  it  also  allows 
te  at  the  same 
low. 

favade,  long  left 

57,  by  the  munifi- 

er  a  Renaissance 

by  the  modern 

s  have  separate 

occurrence  of  the 

le  by  two  angels  ; 

pha  and  Omega  ; 

:   in  the  general 

e  doors  represent, 

rchi  :)  centre,  the 

ross  appearing  in 

self  as  the  symbol 

Empire   (Zucchi). 

ie  doorways,  with 

High  up  on  the 

ogram  IHS,  intro- 

an  Bernardino  di 

'ed  within.      The 

e  former  buildings 

r  is  at  first  sight 
'e  disappointment. 
!re  not  a  wealthy 
5  of  the  nave,  to 
chapels)  the  short 
Jans  large  Gothic 
chapels,  built  out 
•  doubling  of  the 
ires  of  this  age  of 
^as  the  property  of 
the  Bardi  or  the 
e  wooden  roof,  so 
of  northern  cathe- 


••] 


SANTA   CROCE 


21 


drals.    Architecturally,  this  very  simple  interior  is  severe 
but  interesting. 

Now,  go  down  again  to  the  door  by  which  you  entered, 
and  proceed  along  the  R  aisle,  to  observe  the  various 
objects  it  contains  in  detail. 

1  will  dwell  upon  the  monuments  very  briefly,  as  mere 
excrescences  upon  the  original  building. 

Michael  Angelo  BuonarottI,  k,  buried  I  v.  Died 
at  Rome,  1564.  General  design  by  Vasari  ;  bi  ,. ';:  Bat- 
tista  Lorcnzi ;  figure  of  Architecture  by  Giovanni  dell' 
Opera ;  Painting  by  Lorenzi  ;  Sculpture  by  Cioli.  Preten- 
tious and  feeble. 

P:llar  L,  *Madonna  and  Child  (Madonna  del  Latte) 
part  of  the  monument  of  Francesco  Nori,  by  Antonio  Ros- 
sellino,  15th  cent  ;  extremely  beautiful. 

R,  Dante's  cenotaph.    The  poet  is  buried  at  Ravenna. 

L,  on  a  column,  the  famous  *pulpit,  by  Benedetto  da 
Majano,  said  to  be  the  most  beautiful  in  Italy,  though  far 
inferior  in  effect  to  that  of  Niccol6  Pisano  at  Pisa.  Its 
supports  are  of  delicate  Renaissance  work.  The  subjects  of 
the  reliefs  (Franciscan,  of  course)  are,  the  Confirmation  of 
the  Franciscan  order.  Burning  immoral  books,  St.  Francis 
receiving  the  Stigmata,  Death  of  St.  Francis,  and  Martyr- 
dom of  Franciscan  Saints.  Notice  the  hand  holding  out 
the  Holy  Cross  from  the  pulpit,  here  more  appropriate  than 
elsewhere.  The  statuettes  beneath  represent  Faith,  Hope, 
Charity,  Courage,  and  Justice. 

R,  opposite  it,  monument  of  Alflerl,  erected  for  his 
mistress,  the  Corntess  of  Albany,  by  Canova. 

Macchiavelli,  died  1527  :  monument  erected  in  1787. 

Lanzl,  the  historian  of  art. 

A  fresco,  by  Andrea  del  Castagno,  with  St.  John  Baptist, 
as  patron  saint  of  Florence,  and  St.  Francis,  as  representing 
the  present  church  and  order.  This  alone  now  remains  of 
all  the  frescoes  of  the  nave,  cleared  away  by  the  Goths  of 
the  17th  cent. 

Near  it,  exquisite  ^^Annunciation  by  Donatello,  of 
pittra   serena^   gilt,  in   a,   charming   Renaissance  frame  ; 


aa 


FLORENCE 


[•• 


perhaps  the  most  bcnutiful  object  in  the  whole  church. 
Notice  the  .tpeukiiiK  po»itiont  of  the  aw^kX  and  Our  I.ndy, 
the  usual  book  and  pHedieu,  and  the  uxquisite  shrinking 
timidity  of  the  Madonna's  attitude.  Worth  all  the  tombs 
put  together. 

Over  the  door,  the  Meeting  of  St.  Francis  and  St. 
Dominic.  Compare  with  the  Delia  Kobbia  at  the  Hospital 
of  San  I'aolo,  near  Santa  Maria  Novella. 

Beautiful  Renaissance  tomb  of  Leonardo  BrunI,  by 
Dernardo  Kossellino — a  model  afterwards  much  imitated, 
especially  at  Venice. 

Turn  the  corner  into  the  R  transept.  The  first  chapel 
on  your  r,  that  of  the  Holy  Sacrament,  is  covered  with 
much-defaced  frescoes  by  A^^nolo  (iaddi.  (Recollect  that 
this  church  is  the  great  place  for  studying  the  eariy  Giot< 
tesque  fresco-painters  :  first,  Giotto  ;  then,  his  pupil,  Taddeo 
Gaddi;  next,  Taddco's  pupils,  Agnolo  Gaddi,  and  Giovanni 
da  Milano.  See  Kugler.)  R  wall,  lives  of  St.  Nicolas 
(first  bay)  and  St.  John  Uaptist  (second  bay).  The  most 
distinct  of  these  are  (ist)  St.  Nicolas  appearing  in  a  storm 
at  sea,  (or,  restoring  the  nobleman  his  drowned  son  .)  and 
(2nd)  the  Haptism  of  Christ  ;  but  some  of  the  others  can  be 
faintly  recognised,  as  at  the  top,  the  figure  of  St.  Nicolas 
throwing  the  three  purses  of  gold  as  dowries  into  the  window 
of  the  poor  nobleman  with  three  starving  daughters.  (See 
Mrs.  Jameson.)  The  walls  here  show  well  the  way  in  which 
these  frescoes  were  defaced  by  later  additions.  L  wall, 
lives  of  St.  John  the  Evangelist  and  St.  Antony,  also  by 
Agnolo  Gaddi.  The  scene  of  the  Temptation  of  St.  Antony 
is  the  best  preserved  of  these.  Against  the  pilasters,  life- 
size  terracotta  statues  of  our  Franciscan  lights,  St.  Francis 
and  St.  Hernardino,  by  the  Delia  Robbia.  L  wall,  monu- 
ment of  ttie  Countess  of  Albany. 

End  wall  of  the  R  transept,  good  Gothic  monument  of  the 
14th  cent,  with  reliefs  of  Christ,  the  Madonna  and  St.  John, 
and  a  Madonna  <?,nd  Child  in  fresco  above,  and  exquisite  little 
♦sculptured  angels  of  the  school  of  Pisa.  The  Chapel  of 
the  K  transept,  known  as  the  Cappella  Baronceill,  contains 


#'■««.- >«!«!»-- 


r  whole  church. 
I  and  Our  Lady, 
L|ui!iite  sluiriking 
th  all  the  toinbi 

Francis  and  St. 
%  at  the  Hospital 

irdo   BrunI,   by 

)  much  imitated, 

The  first  chapel 
is  covered  with 
(Recollect  that 
g  the  early  Giot- 
his  pupil,  Taddco 
:ldi,  and  Giovanni 
s   of  St.  Nicolas 
bay).    The  most 
caring  in  a  storm 
owned  son  .)  and 
the  others  can  be 
ire  of  St.  Nicolas 
!S  into  the  window 
daughters.    (See 
I  the  way  in  which 
Iditions.     L  wall, 
.  Antony,  also  by 
tion  of  St.  Antony 
the  pilasters,  life- 
lights,  St.  Francis 
a.    L  wall,  monu- 

c  monument  of  the 
snna  and  St.  John, 
and  exquisite  little 
a.  The  Chapel  of 
ironcelll,  contains 


I] 


SAXTA  CROCE 


n 


admirable  •♦  frescoes  from   the  Life  of  the  Virffin,  by 
Taddco  (laddi.     These  should  all  be  carefully  studied.     L 
wall,    beginning  from  above,  (as  always  here)  Jirst  tur, 
Joachim  is  expelled  by  the  High  Priest  from  the  temple, 
his  offering  being  rejected  because  he  is  childless  :  watching 
hit  flocks,  he  perceives  the  angel  who  foretells  the  birth  of 
the    Virgin.       Notice    the    conventional    symbolical    cipen 
Icinple.     (Read  the  legend  later   in    Mrs.   Jameson.)     ind 
tiir,   U  the  meeting  of  Joachim  and  Anna  at  the  Ciolden 
date  ;  the  servant   behind  carries,   as  usual,  the  rejected 
offering ;  R,  the  Kirth  of  the  Virgin,  the  child,  as  always, 
being  washed  in  the  foreground.     Observe  closely  the  con- 
ventional   arrangement,     which    will     re-appear    in     later 
pictures,    yti  tier,   i,,   Presentation  of  the  Vi.gin   in  the 
Temple  by  St.  Joachim  and  Si.  Anna  j  the  young  Madonna 
stands  on  a  single  flight  of  steps  (wrongly  restored  above). 
Carefully  study  all    the    details    of   this    fresco,  with   its 
Romanesque  or  early  Gothic  architecture  and  round  arches, 
lor  comparison  with  the  Giovanni  du   Milano  of  the  same 
subject,  which  we  will  see  later.     (At  three  years  old,  the 
Virgin  was  consecrated  to  the  service  of  God  by  Joachim  and 
Anna.)     R,  the   Marriage  of  the   Virgin  ;  the   High    Priest 
ioining   her  hand  to  Joseph's,  whose  staff  has  budded,  in 
accordance  with  the  legend.     (All  were  placed  in  the  Holy 
of  Holies,  as  in  the  case  of  Aaron  ;  and  he  whose  staff  bud- 
ded was   to   wed   the  Virgin.)    Observe   the   disappointed 
suitors   breaking  their  staffs,  etc.      All  the  incidents   are 
stereotyped.     This  picture  should  be  carefully  noted  for 
comparison  both  with  the  Giovanni  da  Milano  here,  and 
with  other  representations  of  the  Sposalizio  elsewhere  :  {e.g. 
the   Raphael  at  Milan.)     I  strongly  advise  very  long   and 
close  study  of  these  frescoes,  (some  of  which  are  imitated 
directly  from  Giotto's  in  the  Madonna  dell'  Arena  at  Padua,) 
for  comparison  both  with  those  originals  and  with  the  later 
imitations  by  Giovanni  da   Milano.    They  cast  a  flood  of 
light  upon  the  history  and  evolution  of  art.     Each  figure 
and  detail  will  help  you  to  understand  other  pictures  you 
will  see  hereafter.     It  is  a  good  plan  to  get  photographs  of 


:s-»v»*v*aKI»"',- 


1 


24 


FLORENCE 


[I- 


the  series,  published  by  Alinari  in  the  Via  Tornabuonl,  and 
look  at  the  one  series  (Gaddi's),  with  the  photographs  of 
the  other  (Giovanni's)  in  your  hands.  You  cannot  over- 
estimate the  importance  of  such  comparison.  In  the  two 
Presentations,  for  example,  almost  every  grot-.p  is  reproduced 
exactly. 

Window  wall :  above,  l,  Annunciation  ;  R,  Visitation  •. 
notice  the  loggia  in  the  background.  These  are  also  most 
illustrative  compositions.  2nd  tier,  L,  the  angel  appears 
to  the  shepherds  ;  R,  Nativity.  3r^  Her,  L,  the  Star  appears 
to  the  Wise  Men  ;  R,  the  Adoration  of  the  Magi.  Notice 
the  ages  of  the  Three  Kings,  representing,  as  always,  the 
three  ages  of  man,  and  also  the  three  old  continents— Europe, 
Asia,  Africa.  Observe  the  very  Giottesque  Madonna  and 
Child.  This  fresco  should  be  compared  with  the  Giotto  at 
Padua. 

R  wall,  fresco  by  Mainardi  :  the  Madonna  ascending  in 
a  mandorla,  escorted  by  angels  from  her  tomb,  which  is  filled 
with  roses,  drops  the  Sacred  Girdle,  (Sacra  Cintola),  now 
preserved  at  Prato,  to  St.  Thomas  below.  (Go  to  Prato  to 
see  it,  in  order  to  understand  the  numerous  Sacra  Cintola 
pictures  in  Florence  ;  and  read  in  Mrs.  Jameson,  under  head, 
St.  Thomas.) 

L  of  this  chapel  is  the  door  leading  to  the  Sacristy.  At 
the  end  of  the  corridor  is  the  Cappella  Medici,  erected  by 
Michelozzo  for  Cosimo  de'  Medici.  It  contains  many  beauti- 
ful objects.  R  wall,  *marble  ciborlum,  by  Mino  da  Fiesole, 
with  charming  angels  and  an  inscription:  "This  is  the 
living  bread  which  came  down  from  heaven."  Giottesque 
Coronation  of  the  Virgin  with  four  saints-conspicuous 
among  them,  Peter  and  Lawrence.  Over  the  tomb  of 
Loinbardi,  beautiful  *Madonna  and  angels  of  the  school  of 
Donatello.  End  wall,  (our  patron)  St.  Francis  with  the 
Stigmata.  Over  the  altar,  exquisite  *»terra-cotta  Madonna 
of  the  school  of  Delia  Robbia,  (attributed  to  Luca)  bemg 
crowned  by  angels,  and  attended  by,  L,  St.  John  Baptist  as 
representing  Florence,  R,  St.  Lawrence  (Lorenzo  de'  Medic..), 
St.  Frai>cis  (for  this  Franciscan  church),  and  St.  Louis  of 


I] 

Toi 
Coi 
in  \ 
for 
Be; 
ove 
No 
free 
cha 
No 
alti 
1 
Sa 
sh( 
Gu 
pr« 
Th 
Pi« 
sol 
on 
coi 
int 

frc 

CO 
Cl( 

all 
ar 
pc 
ex 
to 
G 
at 
w; 
ce 
th 

3' 

in 


iWSS»T.Ssi'4i,>»;*i!iS.'5;«'SsS'  •"" 


[I. 

le  Via  Tornabuoni,  and 
ith  the  photographs  of 
>ds.  You  cannot  over- 
imparison.  In  the  two 
r'ery  group  is  reproduced 

iciation  ;  R,  Visitation  ; 
These  are  also  most 
L,  the  angel  appears 
tier,  L,  tht  Star  appears 
n  of  the  Magi.  Notice 
esenting,  as  always,  the 
old  continents — Europe, 
iottesque  Madonna  and 
pared  with  the  Giotto  at 

e  Madonna  ascending  in 
her  tomb,  which  is  filled 
lie,  (Sacra  Cintola),  now 
below.  (Go  to  Prato  to 
numerous  Sacra  Cintola 
TS.  Jameson,  under  head, 

ng  to  the  Sacristy.  At 
pella  Medici,  erected  by 
It  contains  many  beauti- 
iuin,  by  Mino  da  Fiesole, 
scription  :  "This  is  the 
jm  heaven."  G  iottesque 
four  saints— conspicuous 
ce.  Over  the  tomb  of 
I  angels  of  the  school  of 
m)  St.  Francis  with  the 
;e  **terra-cotta  Madonna 
ttributed  to  Luca)  being 
y,  L,  St.  John  Baptist  as 
nee  (Lorenzo  de'  Medici), 
hurch),  and  St.  Louis  of 


«■] 


SANTA   CROCK 


25 


Toulouse,  the  great  Franciscan  bishop.  L  wall,  a  famous 
Coronation  of  the  Virgin,  by  Giotto,  tender  in  execution,  but 
in  his  stiffest  panel  style.  It  is  regarded  as  a  touchstone 
for  his  critics.  Very  graceful  faces  :  crowded  composition. 
Beyond  it,  Madonna  and  Child  by  the  Delia  Robbia,  and, 
over  the  doorway,  Pietk,  by  the  same,  in  a  frame  of  fruit. 
Notice  these  lovely  late  15th  century  majolica  objects, 
frequent  in  Florence.  All  the  works  in  this  very  Franciscan 
chapel  of  the  Medici,  indeed,  deserve  close  inspection. 
Notice  their  coat  of  arms  (the  pills)  over  the  arch  of  the 
altar  and  elsewhere.     It  will  meet  you  often  in  Florence. 

Returning  along  the  corridor,  to  the  R,  you  come  to  the 
Sacristy,  containing  many  curious  early  works,  all  of  which 
should  be  noted,  such  as  the  Crucifix  bowing  to  San  Giovanni 
Gualberto  as  he  pardons  the  murderer  of  his  brother,  in  the 
predella  of  an  altar-piece  by  Orcagna,  to  the  L  as  you  enter. 
The  R  wall  has  frescoes  of  the  Passion,  by  Niccol6  di 
Pietro  Gerini,  of  which  the  Resurrection,  with  its  sleeping 
soldiers,  mandorla  (or  almond-shaped  glory),  and  red  cross 
on  white  banner,  is  highly  typical.  Study  all  these  for  their 
conventional  features.  Notice  also  the  fine  roof,  and  the 
intarsia-work  of  the  seats  and  boxes. 

A  beautiful  iroii  railing  of  1371  separates  the  Sacristy 
from  the  Cappella  Rinticcini,  containing,  on  the  L  wall,  *fres- 
coes  of  the  Life  of  the  Madonna  by  Giovanni  da  Milano,  the 
close  similfvrity  of  which  to  those  by  his  master,  Taddeo  Gaddi, 
already  observed,  should  be  carefully  noticed.  The  subjects 
are  the  same :  the  treatment  is  very  slightly  varied  ;  but 
pointed  arches  replace  the  round  ones.  Summit,  Joachim 
expelled  from  the  Temple,  znd  tier,  L,  the  angel  appears 
to  Joachim,  and  the  Meeting  of  Joachim  and  Anna  at  the 
Golden  Gate  ;  R,  the  Birth  of  the  Virgin  ;  study  the  attitudes 
and  note  the  servant  bringing  in  the  roast  chicken,  St.  Anne 
washing  her  hands,  etc.,  of  ail  which  motives  (older  by 
centuries)  imitations  occur  in  such  later  representations  of 
the  s.ime  scene  as  Ghirlandajo's  at  Santa  Maria  Novella. 
yd  tier,  L,  the  Presentation  in  the  Temple,  with  Gothic 
instead  of  Romanesque  arcade  and  the  steps  indicating 


jsfw.ft^t;ifltf«^3a 


26 


FLORENCE 


[I. 


how  those  in  the  Taddeo  Gaddi  originally  ran.  (Do  not 
omit  to  compare  these  two  by  means  of  photographs.)  R, 
Marriage  of  the  Virgin.  These  two  last  are  specially  favour- 
able examples  for  observing  the  close  way  in  which  Giotlesque 
painters  reproduced  one  another's  motives.  I  advise  you  to 
spend  some  hours  at  least  in  studying  and  comparing  the 
frescoes  of  this  chapel  and  the  Baroncelli. 

On  the  R  wall,  scenes  from  the  Life  of  Mary  Magdalen, 
(to  whom  this  chapel  is  dedicated).  Summit,  she  washes 
the  feet  of  Christ ;  notice  the  seven  devils  escaping  from  the 
roof.  2nd  tier,  L,  Christ  in  the  house  of  Mary  and  Martha ; 
observe  Martha's  quaintly  speaking  attitude  ;  R,  the  Resur- 
rection of  Lazarus,  ird  tier,  L,  Christ  and  the  Magdalen 
in  the  garden,  with  the  women  and  angels  at  the  tomb  ;  R,  a 
miracle  of  the  Magdalen  in  Provence  (see  Mrs.  Jameson :) 
she  restores  to  life  the  wife  of  a  nobleman  of  Marseilles— a 
very  long  story:  this  fresco  is  to  my  mind  obviously  by 
another  hand  :  it  lacks  the  simplicity  and  force  of  Giovanni. 
Observe  also  the  fine  altar-piece,  with  the  Madonna  ...id 
Child,  flanked  by  St.  John  Baptist  and  St.  Francis,  as  repre 
senting  Florence  and  the  Franciscan  order :  then,  St.  John 
the  Evangelist,  and  Mary  Magdalen,  patroness  of  the 
chapel :  and,  in  the  predella,  scenes  from  their  lives. 

Emerge  from  the  Sacristy.     Now  take  the  chapels  in  line 
with  the  choir.    The  first  chapel  contains  faded  frescoes, 
said  to  be  of  the  age  of  Cimabue,  (more  likely  by  a  pupil  of 
Giotto)    representing  the  combat  of  St.  Michael  and  the 
Devils,  which  seem  to  have  suggested  the  admirable  Spinello 
Aretino  of  the  same  subject  in  the  National  Gallery  in 
London. 
Second  chapel:  uninteresting. 
Third  chapel,  of  the  Bonaparte  family,  tawdry. 
**Fourth  chapel,  the  Cappella  Peruzzi,  (called,  like  the 
others,  after  the  family  of  the  owners)  contains  the  famous 
frescoes  by  Giotto,  from  the  lives  of  the  two  St.  Johns.    L 
wall,  St.  John  Baptist  (patron  of  Florence).     Upper  tier,  the 
angel  appears  to  Zacharias.    2nd  tier,  R,  the  Birth  of  the 
Baptist ;  L,  he  is  presented  to  Zacharias,  who  writes  down, 


•'s^ztiKW!:x^rs;^^mmfm  i 


y  ran.  (Do  not 
hotographs.)  R, 
specially  favour- 
which  Giotlesque 
I  advise  you  to 
1  comparing  the 

Mary  Magdalen, 
tmi/,  she  washes 
;scaping  from  the 
ary  and  Martha ; 
le  ;  R,  the  Resur- 
id  the  Magdalen 
it  the  tomb  ;  R,  a 
;  Mrs.  Jameson :) 
of  Marseilles— a 
nd   obviously  by 
brce  of  Giovanni, 
he  Madonna  ,..»d 
Francis,  as  repre 
T  :  then,  St.  John 
patroness    of  the 
heir  lives, 
le  chapels  in  line 
IS  faded  frescoes, 
kely  by  a  pupil  of 
Michael  and  the 
idmirable  Spinello 
.tional  Gallery  in 


,  tawdry. 

;i,  (called,  like  the 
ntains  the  famous 
two  St.  Johns.  L 
).  Upper  iter,  the 
,  the  Birth  of  the 
,  who  writes  down, 


I] 


SANTA  CROCE 


37 


"  His  name  is  John."  ^rd  tier,  Herodias's  daughter  receives 
his  head,  and  presents  it  to  her  mother.  The  attitude  of  the 
player,  and  the  arrangement  of  the  king's  table  reappear  in 
many  later  compositions.  Look  out  for  them  hereafter. 
R  wall,  St.  John  the  Evangelist.  Summit,  he  has  the  vision 
of  the  Apocalypse  in  a  quaintly  symbolical  isle  of  Patmos. 
2nd  tier,  he  raises  Drusiana,  an  admirable  opportunity  for 
the  study  of  Giotto's  style  of  drapery.  The  St.  John  in 
this  fresco  already  contains  premonitions  of  Masaccio  and 
even  of  Raphael,  jrrf  tier,  he  is  taken  up  into  heaven  by 
Christ  in  clouds,  accompanied  by  the  Patriarchs  :  a  magni- 
ficent dramatic  composition.  These  frescoes,  which  repre- 
sent the  matures!  work  of  Giotto's  manhood,  should  be 
closely  studied  in  every  detail.  Spend  many  hours  over 
them.  Though  far  less  attractive  than  his  naive  earlier 
work  in  the  Madonna  dell'  Arena  at  Padua,  they  yet  display 
greater  mastery  of  drawing  and  freedom  of  movement.  Do 
not  let  one  visit  suffice  for  them.  Compare  them  again  and 
again  with  photographs  from  the  Arena,  and  look  out  for 
imitations  by  later  painters.  Do  not  overlook  the  altar- 
piece,  by  Andrea  del  Sarto.  It  represents  the  two  great 
plague-saints— San  Rocco  and  St.  Sebastian.  The  Fran- 
ciscans were  great  nursers  of  the  plague-stricken,  and  this 
altar  was  one  where  vows  were  oflfered  for  recovery. 

Fifth  chapel,  the  Cappella  Bardi,  contains  other  frescoes, 
also  by  Giotto,  (unfortunately  over-restored)  of  the  Life  of 
St.  Francis.  These  were  once  the  chief  ornament  of  this 
Franciscan  church.  L  wall :  summit,  he  divests  himself  of 
his  clothing  and  worldly  goods,  and  leaves  his  father's  house, 
to  be  the  spouse  of  Poverty.  2nd  tier,  he  appears  suddenly 
at  Aries,  to  Sant'  Antonio  of  Padua,  while  preaching.  (Read 
up  all  these  subjects  in  Mrs.  Jameson's  Monastic  Orders.) 
ird  tier,  the  Death  of  St.  Francis ;  his  soul  is  seen  conveyed 
by  angels  to  Heaven.  This  picture,  which  formed  the  model 
for  many  subsequent  saintly  obsequies,  should  be  compared 
at  once  with  the  Ghirlandr.jo  of  the  same  theme  in  the  Santa 
Trinitk  in  Florence.  R  wall :  summit,  St.  Francis  receives 
the  confirmation  of  the  rules  of  bis  order  from  Pope  Inno- 


•mw^&^ 


38 


FLORENCE 


[>. 


'•] 


=,■ 


cent  III.  2nd tier^  his  trial  of  faith  before  the  Sultan,  yd 
tier,  his  miracles  (appearance  to  Guido  d'  Assisi :  a  dying 
brother  sees  his  soul  leaping  towards  heaven).  Consult 
parts  I  and  III  of  Raskin's  Mornings  in  Floretice,  on  the 
subject  of  these  frescoes,  but  do  not  be  led  away  by  his  too 
positive  manner.  On  the  ceiling,  St.  Francis  in  Glory,  and 
his  three  great  virtues.  Poverty,  Chastity,  Obedience.  Note 
also  the  figures  of  the  chief  Franciscan  luminaries,  St.  Louis 
of  Toulouse,  St.  Louis  of  France,  St.  Elizabeth  of  Hungary, 
and  St.  Clara  (foundress  of  the  Franciscan  female  order  of 
Poor  Clares)  round  the  windows.  The  whole  is  thus  an  epic 
of  Franciscanism.  Study  it  fully.  The  curious  ancient  altar- 
piece  of  this  chapel  deserves  attention. 

On  the  archway,  above  this  chapel,  outside,  St.  Francis 
receiving  the  Stigmata,  by  Giotto — resembling  the  altar- 
piece  of  the  same  subject  in  the  Louvre,  painted  by  Giotto 
for  San  Francesco  at  Pisa.  I  recommend  long  observation 
of  all  these  Giottos.  Go  later  to  Assisi,  the  town  of  St. 
Francis,  and  compare  them  with  the  Giottos  in  the  parent 
monastery.  The  choir,  which  is,  of  course,  the  central  point 
of  the  whole  church,  usually  bears  reference  to  the  name 
and  dedication  :  here,  it  '•%  naturally  adorned  by  the  History 
of  the  Holy  Cross,  depicted  in  fresco  on  its  walls  by  Agnolo 
Gaddi.  These  frescoes,  however,  are  so  ill  seen,  owing  to 
the  railing,  and  the  obstacles  placed  in  the  way  of  entering, 
that  I  will  merely  give  a  brief  outline  of  their  wild  'egend  as 
here  represented. 

R  wall. 

1.  Seth  receives  from  an  angel  a  branch  from  the  Tree  of 
Knowledge.  He  is  told  to  plant  it  in  Adam's  heart,  with  an 
admonition  that  when  it  bears  fruit,  Adam  will  be  restored 
to  life  again. 

2.  The  Tree,  cut  down  by  Solomon  for  use  in  the  Temple, 
and  found  unsuitable,  is  seen  in  passing  by  the  Queen  of 
Sheba,  who  beholds  a  vision  of  the  crucified  Saviour,  and 
falls  down  to  worship  it. 

3.  The  Tree  is  found  floating  in  the  Pool  of  Bethesda, 
and  is  taken  out  to  be  used  as  the  Cross  of  the  Saviour. 


CO 

po 

1 

pu 

( 

off 

Ch 

sal 


C0( 

ani 
La 
set 
sa] 
as! 
La 
dei 
lar 
alt 
an 
hi! 
wi 
tic 
or 
wi 
he 


nc 


til 
B 
O 


f^-KAVis»£}^>ismvmmm!s 


[I. 

the  Sultan,  yd 
Assisi :  a  dying 
:aven).  Consult 
Florence,  on  the 
1  away  by  his  too 
cis  in  Glory,  and 
)bedience.  Note 
linaries,  St.  Louis 
beth  of  Hungary, 
I  female  order  of 
)le  is  thus  an  epic 
ous  ancient  altar- 

tside,  St.  Francis 
nbling  the  altar- 
painted  by  Giotto 
i  long  observation 
i,  the  town  of  St. 
ttos  in  the  parent 
;,  the  central  point 
5nce  to  the  name 
led  by  the  History 
s  walls  by  Agnolo 
ill  seen,  owing  to 
e  way  of  entering, 
leir  wild  'egend  as 


\i  from  the  Tree  of 
im's  heart,  with  an 
im  will  be  restored 

use  in  the  Temple, 
r  by  the  Queen  of 
:ified  Saviour,  and 

Pool  of  Bethesda, 
of  the  Saviour. 


I] 


SANTA   CROCE 


fl9 


4.  The  Holy  Cross,  buried  for  three  hundred  years,  is  dis- 
covered by  the  Empress  Helena,  who  distinguishes  it  by  its 
powers  in  healing  sickness. 

L  wall. 

5.  Helena  carries  the  Holy  Cross  in  procession  amid 
public  rejoicing. 

6.  Chosroes,  King  of  Persia,  takes  Jerusalem,  and  carries 
off  a  part  of  the  Holy  Cross,  which  was  still  preserved  there. 

7.  Heraclius,  Emperor  of  the  East,  conquers  and  beheads 
Chosroes,  and  rescues  the  Holy  Cross  from  the  heathen. 

8.  Heraclius  brings  the  Holy  Cross  in  triumph  to  Jeru- 
salem, and  carries  it  barefoot  on  his  shoulders  into  the  city. 

First  chapel,  beyond  the  Choir.    Interesting  altar-piece. 

Second  and  third  chapels.     Nothing  noteworthy. 

Fourth  chapel,  of  St.  Stephen  and  St.  Lawrence.    Fres- 
coes by  Bernardo  Daddi,  an  early  Giottesque.     L,  the  Trial 
and  Martyrdom  of  St.  Stephen.     R,  the  Martyrdom  of  St. 
Lawrence,  with  the  usual  boy  blowing  the  bellows.    The 
scene  is  caught  at  the  famous  moment  when  the  Saint  is 
saying,  "  Turn  me  over  ;  this  side  is  done."    (Jam  versa  : 
assatus  est.)    L  and  R  of  the  windows,  St.  Stephen  and  St. 
Lawrence,  with  their  palms  of  martyrdom.     (These  two 
deacon  saints  are  usually  painted  in  couples.    They  simi- 
larly share  Fra  Angelico's  chapel  in  the  Vatican.)    Over  the 
altar,  a  somewhat  vulgarly  coloured  relief  of  the  Madonna 
and  Child,  with  angels  ;  St.  John  the  Evangelist,  holding 
his  symbol,  the  cup  and  serpent,  and  St.  Mary  Magdalen, 
with  the  alabaster  box  of  ointment.     Notice  the  Annuncia- 
tion and  the  little  saints  in  the  predella  of  this  work.    Their 
order  from  L  to  R  is  :  St,  Dominic  with  his  star  ;  St.  Lucy 
with  her  eyes  in  a  dish  ;  St.  Catherine  of  Alexandria  with 
her  wheel ;  and  St.  Thomas  Aquinas  with  his  open  book. 
A  Dominican  work  in  this  Franciscan  church,  placed  here, 
no  doubt,  by  some  Dominican-minded  donor. 

Fifth  chapel,  of  St.  Sylvester,  contains  frescoes  by  Giot- 
tino  or  Maso  di  Banco.  L,  over  the  tomb  of  Uberto  de' 
Bardi,  the  Last  Judgment,  with  the  dead  man  rising  solitary. 
Over  the  next  tomb,  (this  is  more  probably  by  Taddeo 


iss^smm,,- 


30 


FLORENCE 


[I. 


t 


Gaddi,)  the  Entombment,  all  the  attitudes  in  which  are 
characteristically  Giottesque,  and  should  be  carefully  noted. 
R  wall,  the  Conversion  of  Constantine,  and  the  niirr.cles  of 
St.  Sylvester,  greatly  faded,  (exorcism  of  a  dragon,  etc.). 
Notice,  in  the  lower  tier,  two  dead  men  restored  to  life, 
naively  represented  in  the  usual  fashion,  the  dead  bodies 
below,  the  living  rising  out  of  them.  Similar  scenes  will 
meet  you  elsewhere. 

End  chapel  of  the  l  Transept,  no  work  of  importance. 
Observe  from  its  steps  the  general  view  of  the  building. 

Chapel  beyond  Transept,  modern  monuments  and 
paintings. 

Return  by  the  L  aisle.  Monument  of  Raphael  Mor- 
ghen. 

••Monument  of  Carlo  Marsuppini,  by  Desiderio  da 
Settignano,  an  exquisite  specimen  of  Renaissance  work, 
v/ith  lovely  decorative  framework  and  charming  boy- angels, 
Inolding  the  coat-of-arms  of  the  deceased.  Every  portion  of 
the  decoration  of  this  exquisite  tomb  should  be  examined  in 
detail.  Observe  in  particular  the  robe  and  tassels.  It  is  a 
masterpiece  of  its  period. 

Many  of  the  late  altar-pieces  in  this  aisle  are  worth  pass- 
ing attention,  as  specimens  of  the  later  baroque  painting. 

Tomb  of  Galileo  Galilei,  died  1642. 

Over  the  holy  water  stoup,  St.  Francis  with  the  Stig- 
mata. 

Entrance  wall  of  the  Nave,  in  the  rose  window,  Descent 
from  the  Cross,  thus  completing  the  series  of  the  Holy 
Cross,  from  a  design  by  Ghiberti.  Beneath  it,  the  original 
IHS,  from  the  design  of  St.  Bernardino  of  Siena,  the  holy 
Franciscan,  who  placed  it  with  his  own  hands  on  the  old 
fagade.  Over  the  central  door,  Statue  of  St.  Louis  of 
Toulouse,  the  other  great  Franciscan  saint,  by  Donatello  : 
beneath  his  feet,  the  crown  which  he  refused  in  ordtr  to 
accept  the  monastic  profession.  Study  well  all  these  Fran- 
ciscan memorials,  and  observe  their  frequent  allusiveness  to 
the  Holy  Cross. 

The  reader  must  not  suppose  that  in  this  brief  enumera- 


UIL 


BrrH!33B«5®aBtfcVSafe»,»<iiiiSKS3E('; 


"^ 


[t. 

es  in  which  are 
;  carefully  noted, 
d  the  inirr.cles  of 

a  dra^jon,  etc.). 

restored  to  life, 
the  dead  bodies 
milar  scenes  will 

k  of  importance, 
the  building, 
monuments    and 

f   Raphael  Mor- 

)y  Desiderio  da 
enaissance  work, 
ming  boy- angels. 
Every  portion  of 
Id  be  examined  in 
1  tassels.     It  is  a 

le  are  worth  pass- 
roque  painting. 

cis  with  the  Stig- 

;  window,  Descent 
iries  of  the  Holy 
ath  it,  the  original 
of  Siena,  the  holy 
hands  on  the  old 
:  of  St.  Louis  of 
int,  by  Donatello  : 
ifused  in  ordtr  to 
veil  all  these  Fran- 
lent  allusiveness  to 

this  brief  enumera- 


SSS&'SSS5»" 


1.] 


SANTA  CROCE 


St 


tion  I  have  done  anything  more  than  hastily  touch  upon 
a  point  of  view  for  the  chief  objects  of  interest  in  this  most 
important  church.  He  must  come  here  over  and  over  again, 
and  study  the  various  chapels  and  their  frescoes  in  order. 
I  have  passed  over  endless  minor  works  whose  meaning  and 
interest  will  become  more  and  more  apparent  on  further  ex- 
amination. Regard  Santa  Croce  as  a  museum  of  the  early 
aiottesque  fresco-painters  :  and  recolleL";  that  only  in 
Florence,  with  Assisi  and  Padua,  can  you  adequately  study 
these  great  artists.  If  the  study  attracts  you,  read  up  in 
Layard's  Kugler  the  portion  relating  to  Giotto,  Taddeo 
Gaddi,  and  Giovanni  da  Milano  ;  and  also  in  Mrs.  Jameson 
the  legends  of  the  chief  saints  here  commemorated.  Then 
return,  to  correct  and  enlarge  your  first  impressions.  After- 
wards, go  on  to  Assisi  and  Padua.  It  is  impossible  to . 
estimate  the  Giottesques  outside  Italy. 

Through  the  cloisters  of  the  Franciscan  monastery,  to  the 
R,  outside  the  church  (designed  by  Arnolfo),  you  gain  access 
to  the  Cappella  de'  PazzI,  founded  by  the  great  family 
whose  name  it  bears,  the  chief  rivals  of  the  Medici.  It  is  a 
splendid  work  by  Brunelleschi,  the  architect  of  the  dome  of 
the  Cathedral.  The  beautiful  frieze  of  angels'  heads  without 
is  by  Donatello  and  Desiderio  de  Settignano.  You  can  thus 
study  here  these  two  early  Renaissance  sculptors.  Within, 
terra-cotta  decorations  by  Luca  deh^  Robbia :  12  Apostles 
and  4  Evangelists.    The  shape  of  the  roof  is  characteristic. 

To  the  right  of  the  cloisters  on  entering  is  the  old 
Refectory  of  the  convent :  on  the  end  wall  of  which,  as 
on  most  refectories,  is  painted  in  fresco  the  Last  Supper, 
attributed  to  Giotto,  more  probably  by  Taddeo  Gaddi. 
This  Cenacolo  should  be  carefully  studied,  as  the  one  fron.> 
which  most  later  representations  are  gradually  derived. 
Notice  the  position  of  Judas  in  the  foreground,  long  main- 
tained in  subsequent  paintings.  I  advise  you  to  get  photo- 
graphs of  this  work  for  comparison  with  the  Ghirlandajo  at 
San  Marco,  the  Cenacolo  di  Fuligno,  etc.  The  Crucifixion, 
above,  has  near  it  a  Genealogical  Tree  of  the  Franciscan 
order  :  close  by,  St.  Francis  receiving  the  Stigmata,  History 


32 


FLORENCE 


[«. 


of  St.  Louis  of  Toulouse,  and  the  Magdalen  at  the  feet  of 
Christ  in  the  house  of  the  Pharisee.  All  these,  again,  should 
be  noted  for  comparison  :  they  are  probably  the  work  of  a 
pupil  of  Taddeo's.  Do  not  omit  to  observe  the  Franciscan 
character  here,  too,  nor  the  frequency  of  the  outcast  figure 
of  the  Magdalen.  The  Franciscans-thc  Salvation  Army 
of  their  day-ministered  especially  to  the  poor  and  sinful. 


i«-.  -W-.  .^  -...'-^rtwxwSifeiaiitWifajl^gia-;- 


.^^,.Jgf.'t1 


jdalen  at  the  feet  of 
these,  again,  should 
bably  the  work  of  a 
erve  the  Franciscan 
)f  the  outcast  figure 
the  Salvation  Army 
le  poor  and  sinful. 


II 

SANTA  MARIA   NOVELLA 

AND  THE   FIRST  DOMINICAN  QUARTER 

["OT.  DOMINIC  of  Castile,  the  great  contemporary  and 
L>^  friendly  rival  of  St.  Francis,  died  in  1 22 1.  The  order 
which  he  founded  (distinguishable  in  art  as  in  life  by  its 
black-and-white  robe»),  soon  spread  over  Italy.  The 
Dominicans  constituted  themselves  the  guardians  of  Faith, 
as  the  Franciscans  were  the  apostles  of  Works  ;  they  pro- 
tected the  faithful  against. heresy,  and  extirpated  heretics. 
The  Holy  Inquisition  grew  out  of  their  body.  They  were 
also,  incidentally,  the  leading  teachers  of  scholastic 
philosophy;  they  posed  as  the  Learned  Order.  As 
preachers,  they  chiefly  expounded  the  Doctrines  of  the 
Church,  and  preserved  its  purity. 

The  Dominicans  were  the  earliest  builders  of  any  im- 
portant monumental  church  at  Florence.  In  1278  (some  16 
years  before  the  Franciscans  at  Santa  Croce),  they  began  to 
erect .-  splendid  edifice  on  the  west  side  of  the  town,  in  the 
garden  belt  outside  the  narrow  walls  of  the  earliest  precinct. 
It  served  as  chapel  to  their  monastery.  The  design  for 
this  church,  in  pure  Tuscan  Gothic,  was  prepared  by  two 
Dominican  monks,  Fra  Sisto  and  Fra  Ristoro  ;  and  the 
building  was  finished  (except  the  fafade)  about  135 5-  The 
/ufade  itself  is  a  later  Renaissance  addition  to  the  original 
building. 

Before  examining  Santa  Maria  Novella,  however,  I 
strongly  advise  the  visitor  to  begin  by  inspecting  the 
Strozzi  Palace,  in  the  Via  Tornabuoni.  This  massive 
Tuscan  residence  forms  a  typical  example  of  the  solid  and 

M  C 


34 


FLORENCE 


[II. 


gloomy  Florentine  palaces -half  fortress,  half  mansion.  It 
was  built,  as  a  whole,  in  1489  (lonj;  after  Santa  Maria),  by 
Benedetto  da  Majano,  for  his  patron,  Filippo  Strozzi,  the 
chief  rival  of  the  Medici  in  the  later  isth  century.  The 
beautiful  cornice  which  tops  its  exterior  on  the  side  next  the 
Via  Strozii  was  added  later  by  Cronaca.  But  it  is  well  to 
inspect  (from  without)  this  magnificent  house  before  visiting 
Santa  Maria,  because  both  Filippo  Strozzi  and  Benedetto 
da  Majano  will  meet  us  again  more  than  once  in  the  church 
we  are  about  to  consider.  Observe  that  the  solid  Tuscan 
palaces  of  which  this  is  the  type  are  designed  like  fortresses, 
for  defence  against  civic  foes,  with  barricaded  windows  high 
up  on  the  ground  floor,  and  a  castle-like  front  ;  while  they 
are  only  accessible  by  a  huge  gate  (readily  closed)  into  a 
central  courtyard,  lighter  and  airier,  on  which  the  principal 
living-apartments  open.  (These  palaces  incidentally  give 
you  the  clue  to  the  Cour  du  Louvre.)  Note  the  immense 
blocks  of  stone  of  which  the  wall  is  composed,  and  the  way 
they  are  worked  ;  observe  also  the  windows,  doorways, 
corner-lanterns,  and  rings  or  link-holders  of  the  exterior ; 
then  walk  into  the  Court,  whose  front  was  added  somewhat 
later  by  Cronaca.  Contrast  these  fortress  town-houses  of  the 
turbulent  Florentine  nobles  with  the  relatively  free  and  open 
mansions  of  the  mercantile  Venetians,  among  whom  (under 
the  strong  rule  of  the  Doges  and  the  oligarchy)  internal 
peace  was  so  much  earlier  secured.  Remember  finally  that 
the  Strozzi  were  among  the  chief  patrons  of  Santa  Maria 
Novella. 

From  the  Strozzi  Palace,  again,  walk  just  round  the 
corner  into  the  Via  della  Vigna  Nuova,  and  inspect  the 
exterior  of  the  slightly  earlier  Rucellal  Palace.  The  family 
who  built  it  were  the  pillars  of  Santa  Maria  and  of  the 
Dominican  order.  It  was  designed  by  Leon  Battista 
Alberti,  the  first  of  the  famous  Renaissance  architects  ;  it  is 
remarkable  for  the  pilasters  which  here  first  intervene 
between  the  so-called  rustica  work  of  the  masonry.  These 
two  palaces  give  you  a  good  idea  of  the  Tuscan  houses.  If 
you  wish  to  learn  more  of  Alberti's  style  inspect  also  the 


i--»yf*ir»KWtu»n«SJlsKflSJ^- 


[n. 

CSS,  half  mansion.  It 
ftcr  Santa  Maria),  by 
,  Filippo  Strozzi,  the 
■  isth  century.  The 
r  on  the  side  next  the 
ica.     But  it  is  well  to 

house  before  visiting 
trozzi  and  Uencdetto 
in  once  in  the  church 
hat  the  solid  Tuscan 
signed  like  fortresses, 
ricaded  windows  high 
ike  front  ;  while  they 
readily  closed)  into  a 
n  which  the  principal 
.ces  incidentally  give 
I  Note  the  immense 
mposed,  and  the  way 

windows,  doorways, 
Iders  of  the  exterior  ; 
was  added  somewhat 
»ss  town-houses  of  the 
ilatively  free  and  open 

among  whom  (under 
le  oligarchy)  internal 
lemember  finally  that 
trons  of  Santa  Maria 

walk  just   round    the 

ova,  and  inspect  the 

Palace.    The  family 

ita  Maria  and  of  the 

d    by   Leon    Battista 

sance  architects  ;  it  is 

here  first    intervene 

the  masonry.    These 

le  Tuscan  houses.     If 

style  inspect  also  the 


fll.] 


SANTA    MA  HI A    NOVELLA 


35 


dainty  little  (hlockcd-up)  arcade  or  loiii^ia  opposite  ;  as  also 
the  Rucellal  Chnpel  in  the  Via  AtWx  Spada,  which  encloses 
an  imitation  by  Alberti  of  the  Holy  Sepulchre  at  Jerusalem. 
And  now  you  are  in  a  position  to  understand  Santa  Mario, 
ihtfafade  of  which  this  same  Alberti  designed. 

Recollect  then  (i)  that  it  is  a  Dominican  church,  full  of 
the  glory  of  the  Dominicans,  and  of  their  teaching  function, 
as  well  as  of  their  great  philosophic  saints,  in  particular,  St. 
Thomas  Aquinas  ;  look  out  for  their  black-and-white  robes  : 
and  (2)  that  it  is  the  church  of  the  Rucellai,  the  Strozzi, 
the  TornabuonI,  and  other  wealthy  and  noble  Florentine 
families.  Earlier  in  date  than  Santa  Croce  as  to  its  fabric, 
1  place  it  later  in  the  order  of  our  tour,  because  its  contained 
works  of  art  are  of  later  date,  and  its  style  less  uniform. 

Choose  a  very  sunny  day.    Take  your  opera-glasses.] 

Go  into  the  Piazza  Santa  Maria  Novella.  Observe  :he 
church,  and  the  opposite  hospital  of  San  Paolo  •  good  'clief 
of  the  Meeting  of  St.  Dominic  and  St.  Francis  by  the  Delia 
Kobbia,  in  R  corner  of  the  latter,  under  the  loj^gia.  Then, 
walk  round  the  R  corner  of  the  church  into  the  Piazza  dell' 
UnitJi  Italiana,  where  stand  by  the  obelisk  to  examine  the 
exterior  of  the  inediosval  portion  of  the  building,  with  its 
almost  windowless  Nave  and  Aisles,  and  its  Transept  with 
small  rose  window.  This  part  was  designed  for  the  Rucellai 
by  two  Dominican  monks  about  1278.  Afterwards,  proceed 
towards  the  Railway  Station,  so  as  to  observe  the  architec- 
ture of  the  end  of  tl'R  church,  and  the  interesting  campanile. 
This  is  all  part  of  the  primitive  building. 

Now,  return  to  the  much  later  Renaissance  facade,  erected 
by  Leon  Battista  Alberti  in  1456  for  Giovanni  Rucellai. 
This  fagade  is  well  worth  close  notice,  as  a  specimen  of 
early  Renaissance  architecture.  Observe  first  the  earlier 
Gothic  arcades  {avelli),  in  black-and-white  marble,  which 
surround  the  corner  :  these  were  used  as  burial  vaults  ;  and 
contain,  below,  the  coats  of-arms  of  the  various  noble 
families  interred  there.  Those  to  the  R  have  been  over- 
restored  ;  but  on  the  lower  tier  of  the  /a(;ade  itself,  and  to 


-*pw-wjr*irtXWiu*nr«l^4sS!^  ":' 


ai*Mi*:.':«-.S!*--.. 


36 


FLORENCE 


[U. 


the  I.  by  the  monastery  buildinKa  they  still  remain  in  their 
original  condition.  The  two  Literal  doorways  are  also  early 
and  Ciothic.  The  central  doorway,  however,  and  the  rest  of 
the  /<if(i//<  (in  black  and  white  niarble,  and  seipentincj  — 
at  least,  the  part  above  the  first  cornice— belongs  to  the  later 
Renaissance  design  added  by  Alberti.  (If  you  go  round 
to  the  front  of  the  neinhbourinv;  church  of  San  Lorenzo, 
you  will  see  the  way  in  wjiich  such  fa^adei  were  often  left 
incomplete  for  ages  in  Italy.)  Notice  the  contrast  between 
the  later  and  earlier  portions  :  also  the  handsome  green 
pilasters.  At  Santa  Croce,  the  nave  and  aisles  have 
separate  gables  :  here,  only  Mie  nave  has  a  visible  gable- 
end,  while  the  apparently  flat  top  of  the  aisles  is  con- 
nected with  it  by  a  curl  or  volute,  which  does  not  answer 
to  the  interior  architecture.  Ueneath  the  pediment 
runs  the  inscription:  "Iomannes  Oricicllarivs,  Pav[i,i] 
Fil[ivs]  An[no]  Sal[vationis]  Mcccclxx";  that  is  to  say, 
'Giovanni  Kucellai,  son  of  Paolo,  in  the  Year  of  Salvation, 
1470."  Look  out  within  for  more  than  one  memorial  of 
these  same  Kucellai,  the  great  joint  patrons  of  Santa  Maria 
Novella. 

Enter  the  church.  The  Interior,  a  fine  specimen  of 
Tuscan  Gothic,  consists  of  a  Nave  and  Aisles,  with  vaulted 
roof  (about  1350),  and  a  Transept  somewhat  longer  than  is 
usual  in  Italian  churches. 

Walk  up  the  centre  of  the  Nave  to  the  junction  of  the 
Transepts  (mind  the  two  steps  half  way)  in  order  to  observe 
the  internal  architecture  in  general,  and  th«*  position  of  the 
choir  and  chapels,  much  resembling  that  c.  ^anta  Croce  : 
only,  the  Transepts  end  here  in  rai«ed  CfiapelA. 

Then,  return  to  the  R  aisle,  noticing,  on  the  entrance  wall, 
R  of  the  main  door,  a  beautiful  little  Annunciation  of  the  15th 
century,  where  the  position  of  the  Madonna  and  angel,  the 
dividing  wall,  prie-dieu,  bed  in  the  background,  etc.,  are  all 
highly  characteristic  of  this  interesting  subject.  Beneath  it, 
three  little  episodes,  Baptism,  Adoration  of  the  Magi,  and 
Nativity,  closely  imitated  after  Giotto.  L  of  the  doorway,  a 
Holy  Trinity,  with  saints  and  donors  much  injured,  but 


— .■■»  ri .  Lni»i-»«>r-jMa'i:ia{«7— 


t  still    I 


mm 


[u, 

still  remain  in  their 
rway*  are  also  early 
ever,  and  the  rest  of 
B,  and  HCipentinej  - 
-belongs  to  the  later 
(If  you  K''  ""ound 
ch  of  San  Lorenio, 
fiuits  were  often  left 
he  contrast  between 
he  handsome  green 
e  and  aisles  have 
has  a  visible  gable- 
f  the  aisles  is  con- 
ch does  not  answer 
sath  the  pediment 
ICIXLARIVS,  PAV[1,1] 
L'LXX" ;  that  is  to  say, 
(e  Year  of  Salvation, 
an  one  memorial  of 
trons  of  Santa  Maria 

a  fine  specimen  of 
1  Aisles,  with  vaulted 
ewhat  longer  than  is 

J  the  junction  of  the 
f)  in  order  to  observe 
id  the  position  of  the 
hat  c.  „anta  Croce  : 
I  CfmpelA. 

)n  the  entrance  wall, 
nunciation  of  the  1 5th 
donna  and  angel,  the 
:kground,  etc.,  are  all 
:  subject.  Beneath  it, 
ion  of  the  Magi,  and 
L  of  the  doorway,  a 
much  injured,  but  still 


'np'rntsB^wtflV^^JrtSEgp^gjfX'^ 


SAJVTA   MARIA    NOVELLA 


37 


a  fine  work  by  Masaccio.  The  altar-pieces  in  the  R  aisle 
arr  of  the  17th  century,  and  mostly  uninteresting.  One  ii 
dedicated  to  St.  Thomas  A'Hecket. 

R  Transept.  Uust  of  St.  Antoninus,  the  Dominican 
Bishop  of  Florence.  (The  Dominicans  make  the  most  of 
their  saints  here,  as  the  Franciscans  did  at  .Santa  C'roce.) 

Heyond  the  doorw.wy,  Tomb  of  Joseph,  Patriarch  of 
Constantinople,  who  came  to  the  Council  of  Fdrrara  (after- 
wards at  Florence)  in  order  to  arrange  a  basis  of  reunion 
for  the  Eastern  and  Western  Churches,  and  then  di<'d  here, 
1440.  (The  beautiful  fresco  of  the  Journey  of  the  Magi  by 
Henozzo  Gozzoli  at  the  Riccardi  Palace,  which  you  will  visit 
later,  contains  his  portrait  as  the  Eldest  King.) 

Above  this,  early  Gothic  Tomb  of  Aldobrandino  (1279), 
with  Madonna  and  Child,  added,  by  Nino  Pisano.  To  the 
R,  another  tomb  (Bishop  Aliotti  of  Fiesole,  d.  1336)  with 
recumbent  figure,  Ecce  Homo,  etc.,  best  viewed  from  the 
steps  to  the  end  chapel :  this  is  probably  by  Tino  da 
Camaino.  Note  these  as  specimens  of  early  Tuscan  sculp- 
ture. 

Ascend  the  steps  to  the  Rucellai  Chapel.  (Remember 
the  family.)  Over  the  altar  is  CImabue's  famous  Madonna, 
with  attendant  angels  superimposed  on  one  another.  This 
celebrated  picture,  the  first  which  diverged  from  the  Byzan- 
tine (or  rather  barbaric  Italian)  style  is  best  seen  in  a  very 
bright  light.  It  forms  the  starting-point  for  the  art  of 
Tuscany.*  A  replica,  with  slight  variations,  can  be  studied 
with  greater  ease  in  the  Belle  Arti.  This  famous  work  is 
the  one  which  is  said  to  have  been  borne  in  triumph  from 
the  painter's  studio  to  the  church  by  the  whole  population. 
Note  the  greater  freedom  in  the  treatment  of  the  angels, 
where  Clmabue  was  less  bound  by  rigid  custom  than  in  Our 
Lady  and  the  Divine  Child.  On  the  R  wall,  characteristic 
Giottesque  Annunciation,  where  the  loggia  and  the  position 
of  the  angel  should  be  noted.  On  the  L  wall,  St.  Lucy,  with 
her  eyes  in  a  dish,  by  Ridolfo  Ghirlandajo.  The  tomb  of 
the  Beata  Villana  (with  angels,  as  often,  drawing  the 
curtains)  is  by  Bernardo  Rossellino.    The  Martyrdom  of  St. 


JSw,>*^«i*.'B     ii^  nfu^JjtiMCl. 


7V\i^  J    »  ^ 


,rV*V 


38 


FLORENCE 


[U. 


Catherine  is  by  Bugiardini.  Come  again  to  thi^  chapel  to 
study  the  Cimabue  after  you  have  seen  the  copy  in  the 
Belie  Arti. 

Notice  outside  the  chapeS,  as  you  descend  the  stairs,  the 
Rucellai  inscriptions,  including  the  Tomb  of  Paolo,  father  of 
Giovanni  who  erected  ihe  fai^ade. 

Now,  turn  to  the  Choir  Chapels,  extending  in  a  line  to 
the  L  as  you  descend.  And  observe  here  that,  just  as  the 
exterior  belongs  to  two  distinct  ages.  Medieval  and  Renais- 
sance, so  also  do  the  frescoes.  The  Orcagnas  and  the  paint- 
ings of  the  Spanish  Chapel  are  Giottesque  and  medi- 
asval :  the  Filippino  Lippis  and  the  Ghirlandajos  are  Renais- 
sance.   We  come  first  upon  the  later  series. 

First  chapel,  uninteresting. 

Second  chapel,  of  the  Strozzl  family,  the  other  great 
patrons  of  Santa  Maria  Novella.  This  was  formerly,  as  the 
Latin  inscriptions  relate,  dedicated  to  St.  John  the  Evan- 
gelist, but  was  afterwards  made  over  by  Filippo  Strozzi 
(builder  of  the  Strozzi  Palace)  to  his  family  patrons,  St. 
Philip  and  St.  James.  The  same  powerful  nobleman 
employed  Filippino  Lippi  to  decorate  it  with  **  frescoes, 
which  rank  among  the  finest  work  of  that  great  Renais- 
sance master.  Here  you  come  for  the  rirst  time  upon  a 
famous  Florentine  painter  of  the  isth  century.  Contrast 
his  frescoes  with  the  Giottesque  types  at  Santa  Croce,  and 
observe  the  advance  they  mark  m  skill  and  knowledge. 
The  L  wail  contains  Scenes  from  the  Life  of.  the  (dis- 
possessed) St.  John  the  Evangelist,  af  compensation  for 
disturbance.  Below,  St.  John  raists  Dnisi  ,ia,  a  legendary 
subject  which  we  saw  at  Santa  Croce.  Observe  here,  how- 
ever, the  Roman  architecture,  the  attempts  at  classical 
restoration,  and  the  admirable  dramatic  character  of  the 
scene,  especially  visible  in  the  strange  look  of  wonder  on 
the  face  of  the  resuscitated  woman  herself,  and  the  action  ot 
the  two  bier-bearers.  The  group  of  women,  mourners,  and 
children  to  the  R  should  be  carefully  studied  as  typical  of 
Filippino  Lippi's  handiwork  (about  1502).  Above,  St.  John 
in  the  caldron  of  boiling  oil.     ObsetTe  again  the  classical 


*»Tmi!3iH!>afl!.«i5^,- 


CE 


[U. 


[le  again  to  thi~  chapel  to 
ive  seen  the  copy  in  the 

^ou  descend  the  stairs,  the 
e  Tomb  of  Paolo,  father  of 

}ls,  extending  in  a  line  to 
;rve  here  that,  just  as  the 
es.  Medieval  and  Renais- 
le  Orcagnas  and  the  paint- 
re  Giottesque  and  medi- 
e  Ghirlandajos  are  Renais- 
iter  series. 

zi  family,  the  other  great 
This  was  formerly,  as  the 
;ed  to  St.  John  the  Evan- 
:  over  by  Filippo  Strozzi 
to  his  family  patrons,  St. 
same  powerful  nobleman 
orate  it  with  **  frescoes, 
irk  of  that  great  Renais- 
for  the  rirst  time  upon  a 
le  isth  century.  Contrast 
types  at  Santa  Croce,  and 
,  m  skill  and  knowledge, 
om  the  Life  of.  the  (dis- 
!list,  a?  compensation  for 
lists  Dn:si  ,ia,  a  legendary 
;roce.  Observe  here,  how- 
the  attempts  at  classical 
Iramatic  character  of  the 
trange  look  of  wonder  on 
n  herself,  and  the  action  ot 
of  women,  mourners,  and 
liully  studied  as  typical  of 
it  1502).  Above,  St.  John 
>bseiTb  again  the  classical 


n.] 


SANTA   MARIA   NOVELLA 


39 


i 


tone  in  the  lictors  with  fasces  and  other  Roman  insignia. 
The  R  wall  is  d'jvotcd  to  the  legendary  history  of  St. 
Philip,  the  namesake  of  both  patron  and  painter.  Below, 
St.  Philip  exorcises  a  dragon  which  haunted  a  temple  at 
Hierapolis  in  Phrygia,  and  killed  by  its  breath  the  king's 
son.  Here  again  the  dramatic  action  is  very  marked  both 
in  the  statue  of  Mars,  the  priest,  the  mourning  worshippers, 
and  the  dragon  to  the  L,  and  the  dying  prince  in  the  arms 
of  his  courtiers  to  the  R  of  the  picture.  Above,  the 
Martyrdom  of  St.  Philip,  who  is  crucified  by  the  outraged 
priests  of  the  dragon.  These  frescoes,  though  marred  by 
restoration,  deserve  attentive  study.  Their  exaggerated 
decorative  work  is  full  of  feeling  for  the  antique.  They  are 
characteristic  but  florid  examples  of  the  Renaissance  spirit 
before  the  age  of  Raphael.  (Good  accounts  in  Layard's 
Kugler,  and  Mrs.  Jameson.)  Note,  however,  that  while 
excellent  as  art  they  are  wholly  devoid  of  spiritual  meaning 
—mere  pleasant  stories.  On  the  window  wall,  Tomb  of 
Filippo  Strozzi  by  Benedetto  da  Majano,  the  architect  of 
the  Strozzi  palace.  (Notice  throughout  this  constant  con- 
nection of  certain  painters  and  sculptors  with  families  of 
particular  patrc  s,  and  also  with  churches  of  special  orders.) 
The  Madonna  and  Child,  flying  angels,  and  framework, 
are  all  exquisite  examples  of  their  artist's  fine  feeling.  The 
bust  of  Filippo  Strozzi,  from  this  tomb,  is  now  in  the  Louvr" 
The  window  above,  with  Our  Lady,  and  St.  Philip  and  Sc. 
James,  is  also  after  a  design  by  Filippino  Lippi.  Observe 
likewise  the  admirable  Sibyls  and  other  allegorical  figures 
of  the  window  wall.  Not  a  detail  of  this  fine  Renais 
sance  work  Si  ould  be  left  unnoticed.  Do  not  forget  the 
Patriarchs  on  the  ceiling,  each  named  on  a  cartolino  or 
litlle  slip  of  paper.  Return  more  than  once  to  a  chapel  like 
this,  reading  up  the  subjects  and  pai  ters  meanwhile,  till 
you  reel  you  understa  ,d  it. 

Enter  the  Choir,  noticing,  as  you  pass,  the  marble  higl. 
altar,  which  covers  the  remains  of  the  Dominican  founder, 
the  Beato  Giovanni  di  Salerno. 

The  **  frescoes  on  the  walls  were  originally  by  Orcagna, 


t«T*B.!OTlS!H|iKaKlS®S5SJ.'', 


l^WSrjS^Cf-is^tjivWeM&^J^I  ■>!»k'&'»A'sottl*iH   Sl!«l«"f»" 


40 


FLORENCE 


ta 


bi:t  in  1490  Giovanni  Tornabuoni  commissioned  Domenico 
Ghirland.ijo  to  paint  them  over  with  the  two  existing  series, 
representing,  on  the  R  wall,  the  Life  of  St.  John  Baptist, 
the  patron  saint  of  the  city,  and,  on  the  L  wall,  the  history 
of  the  Virgin,  the  patron  saint  of  Santa  Maria  Novella. 
(Here,  therefore,  as  usual,  the  Choir  contains  direct  reference 
to  the  dedication.) 

The  upper  scenes  on  either  side  are  so  much  damaged 
as  to  be  hardly  recognisable,  but  the  lower  ones  are  as 
follows  : — 

L  wall,  2nd  tier ;  L,  the  Presentation  of  the  Virgin  in 
the  Temple,  which  should  be  compared  with  similar  scenes 
by  earlier  Giottesque  painters,  in  Santa  Croce.  R,  the 
Marriage  of  the  Virgin  ;  observe  again  the  positions  of 
Joseph,  Mary,  the  High  Priest,  the  attendant  Virgins  of  the 
Lord,  and  the  disappointed  suitors,  breaking  their  staffs,  etc. 
(Recall  or  compare  with  photograph  of  Raphael's  Sposalizio 
at  Milan)  Lowest  tier;  L,  the  Expulsion  of  Joachira 
from  the  Temple  (because  he  is  childless)  where  the 
spectators  (introduced  as  if  viewing  the  facts),  are  con- 
temporary Florentine  portraits  of  the  painter  and  his 
brother,  and  the  family  and  friends  of  the  Tornabuoni. 
Contrast  the  details  with  the  Giottesques  at  Santa  Croce  : 
noble  figures  of  the  High  Priest  and  St.  Joachim.  R,  the 
Birth  of  the  Virgin,  with  St.  Anne  in  bed,  the  washing  of 
the  infant,  and  a  group  of  Florentine  ladies  as  spectators  : 
conspicuous  among  them,  Lodovica,  daughter  of  Giovanni 
Tornabuoni  :  in  the  background,  the  Meeting  of  Joachim 
and  Anna  at  the  Golden  Gate.  In  all  these  pictures,  the 
irvivals  and  modifications  of  traditional  scenes  should 
both  be  noted  ;  also,  the  character  of  the  architecture  and 
the  decorative  detail  in  which  Ghirlandajo  delighted.  He 
had  been  trained  as  a  goldsmith  and  retained  through  life 
his  love  of  goldsmith-like  handicraft.  The  introduction  of 
portraits  of  contemporaries  as  spectators  is  highly  character- 
istic both  of  age  and  artist.  Ghirlandajo  was  in  essence 
a  portrait-painter,  who  used  sacred  scenes  as  an  excuse  for 
portraiture. 


t". 

nmissioned  Domenico 
le  two  existing  series, 
I  of  St.  John  Baptist, 
the  L  wall,  the  history 
ianta  Maria  Novella, 
ntains  direct  reference 

re  so  much  damaged 
le  lower  ones  are  as 

tion  of  the  Virgin  in 
;d  with  similar  scenes 
Banta  Croce.  R,  the 
gam  the  positions  of 
endant  Virgins  of  the 
jaking  their  staffs,  etc. 
f  Raphael's  Sposalizio 
xpulsion  of  Joachira 
childless)  where  the 
i  the  facts),  are  con- 
the  painter  and  his 
5  of  the  Tornabuoni. 
ques  at  Santa  Croce  : 

St.  Joachim.  R,  the 
I  bed,  the  washing  ot 

ladies  as  spectators : 
daughter  of  Giovanni 

Meeting  of  Joachim 
»11  these  pictures,  the 
itional  scenes  should 

the  architecture  and 
ndajo  delighted.  He 
I  retained  through  life 

The  introduction  of 
rs  is  highly  character- 
dajo  was  in  essence 
enes  as  an  excuse  for 


--    wiiM»wa 


I!.] 


SA2VTA   MAR! A   NOVELLA 


41 


R  wall :  lower  tier  ;  L,  the  Visitation,  where  the  positions 
of  the  Madonna  and  St.  Elizabeth  should  be  noted,  as  those 
on  which  later  pictures  by  Mariotto  Albertinelli,  Pacchia- 
rotto,  etc.,  are  based,  and  also  as  derived  from  earlier 
examples.  Here,  also,  notice  the  contemporary  portraits. 
The  lady,  standing  very  erect,  in  a  stiff  yellow  gown,  is 
Giovanni  Tornabuoni's  step-daughter  Giovanna  Albizi,  the 
same  person  of  whom  a  portrait  by  Ghirlandajo  (a  study  for 
this  picture,)  e.xists  in  the  National  Gallery  in  London,  and 
who  is  also  introduced  in  the  two  frescoes  by  Botticelli  at 
the  head  of  the  principal  stairs  in  the  Louvre.  R,  the 
Angel  appearing  to  Zacharias,  where  the  group  of  contem- 
porary portraits  of  distinguished  Florentines  is  particularly 
celebrated  :  Baedeker  names  them  :  I  will  not,  as  you  will 
have  his  book  with  you,  and  tier,  L,  Zacharias  writes 
"  His  name  is  John."  r,  the  birth  of  the  Baptist.  Sit  on 
the  seats  long,  and  study  au  fond  these  typical  and  im- 
portant frescoes. 

Window  wall,  ill  seen  and  defaced  frescoes,  also  by 
Ghirlandajo  of  St.  Francis  before  the  Sultan,  and  St.  Peter 
Martyr  killed  by  assassins  :  the  Annunciation,  and  St.  John 
Baptist  in  the  desert :  and,  below  all,  Giovanni  Tornabuoni 
and  his  wife,  the  donors  of  these  frescoes.  Observe  here 
in  the  Choir,  which  is,  as  it  were,  the  focus  of  the  church, 
that  almost  everything  refers  to  the  Blessed  Virgin,  the 
patroness  of  this  building,  or  to  St.  John  Baptist,  the  patron 
of  the  town  in  which  it  is  situated. 

I  cannot  too  strongly  recommend  close  study  of  these 
late  Renaissance  pictures  of  the  age  immediately  preceding 
that  of  Raphael.  Do  not  be  satisfied  with  noting  the  few 
points  I  mention  :  look  over  them  carefully  as  specimens 
of  an  epoch.  Specially  characteristic,  for  example,  is  the 
figure  of  the  nude  beggar  in  the  scene  of  the  Presentation 
of  the  Virgin,  on  the  L  wall,  showing  the  growing  Renais- 
sance love  for  nude  anatomy.  On  the  other  hand  you  will 
find  in  the  same  picture  the  positions  of  St.  Jerome  and  St 
Anna,  of  the  two  children,  and  t/f  the  two  men  in  the  fore- 
ground, as  well  as  that  of  the  Madonna  pausing  half-way  up 


— Wl^l'""!   ■ 


42 


FLORENCE 


[n. 


\ 


the  steps,  exactly  equivalent  to  those  in  the  Taildeo  Gaddi 
and  the  Giovanni  da  Milano.  Photographs  of  all  these 
should  be  compared  with  one  another,  and  also  with  the 
famous  Titian  at  Venice.  I  have  tried  to  give  some  hints 
on  this  subject  in  an  article  on  the  Presentation  in  the 
Temple  contributed  to  the  Pall-Mall  Magazine  in  1895. 

ist  chapel  beyond  the  choir  :  uninteresting.  It  contains, 
however,  a  famous  crucifix  by  Brunelleschi,  which  would 
seem  to  show  that  a  crucifix,  by  whomsoever  designed,  is 
still  a  crucifix. 
and  chapel,  of  the  Gaddi,  good  bas-reliefs  by  Bandini. 
Under  the  steps  which  lead  to  the  elevated  Strozzi  chapel 
(the  second  belonging  to  the  family  in  this  church),  is  a 
tomb  with  Gothic  figures  and  a  Giottesque  Entombment, 
attributed  to  Giottino. 

Ascend  the  steps  to  the  Strozzi  Chapel,  the    altar  of 
which  covers  the  remains  of  a  "  Blessed  "  member  of  the 
family,  the  Beato  Alessio  dei  Strozzi.    This  chapel  contains 
some  famous  Giottesque  frescoes  by  the  brothers  Orcagna. 
Window  wall,  the  Last  Judgment,  by  Andrea  Orcagna, 
with  Angels  of  the  Last  Trump,  the  twelve  apostles,  the 
rising  dead,  and  other  conventional  elements.    Conspicuous 
just  below  the  figure  of  the  Saviour  are,  L,  Our  Lady,  pat- 
roness of  this  church,  and  R,  '^t.  John  Baptist,  patron  ot 
this  city.     Right  of  the  Saviour,  the  elect :  left  of  Him,  the 
damned.    Every  one  of  the  figures  of  the  rising  dead,  saints, 
and  apostles,  with  the  angels  bearing  the  instruments  of  the 
Passion,  deserve  close  attention.     Most  of  them  will  recur 
in  many  later  pictures.     Compare  the  similar  scene  in  the 
Campo  Santo  at  Pisa. 

L  wall,  the  Paradise,  also  by  Andrea,  a  famous  and  most 
beautiful  picture,  with  Christ  and  the  Madonna  enthroned, 
and  an  immense  company  ol  adoring  saints  and  angels.  As 
many  as  possible  of  these  should  be  identified  by  their 
symbols.  Return  from  time  to  time  and  add  to  your  identi- 
fications. The  tiers  represent  successively  Seraphim  and 
Cherubim,  Apostles,  Prophets,  Patriarchs,  Doctors  of  the 
Church,  Martyrs,  Virgins,  Saints,  and  Angels.    Notice  the 


SI 

cl 
d 
S 

b 
c 
ii 

s 
C 

b 

tl 
tl 
1 
c 

F 
F 

0 

V 
V 

f 

i 

I 

i 
t 

s 


ftt. 

1  the  Taildeo  Gaddi 
graphs  of  all  these 
•,  and  also  with  the 
to  give  some  hints 
Presentation  in  the 
agazine  in  1895. 
resting.  It  contains, 
leschi,  which  would 
nsoever  designed,  is 

reliefs  by  Bandini. 
Evated  Strozzi  chapel 
n  this  church),  is  a 
tesque  Entombment, 

Chapel,  the  altar  of 
sed  "  member  of  the 
This  chapel  contains 
he  brothers  Orcagna. 
by  Andrea  Orcagna, 
twelve  apostles,  the 
ments.  Conspicuous 
,re,  L,  Our  Lady,  pat- 
m  Baptist,  patron  oJ 
lect :  left  of  Him,  the 
he  rising  dead,  saints, 
he  instruments  of  the 
Et  of  them  will  recur 
i  similar  scene  in  the 

;a,  a  famous  and  most 
Madonna  enthroned, 
laints  and  angels.  As 
)e  identified  by  their 
nd  add  to  your  identi- 
ssively  Seraphim  and 
irchs,  Doctors  of  the 
I  Angels.    Notice  the 


vJmitm 


".] 


SANTA   MARIA   NOVELLA 


43 


suitability  of  this  dogmatic  arrangement  in  a  Dominican 
church,  belonging  to  the  stewards  and  guardians  of  ortho- 
doxy. The  painting  unites  Florentine  grandeur  with 
Sienese  tenderness. 

R  wall,  a  very  ugly  Inferno,  attributed  to  Orcagna's 
brother,  Bernardo,  and  divided  into  set  divisions,  in  ac- 
cordance with  the  orthodox  media:val  conception,  which 
is  similarly  crystallized  in  Dante's  poem.  The  various 
spheres  are  easily  followed  by  students  of  the  Divina 
Commedia. 

Do  not  omit  to  observe  the  very  beautiful  altar-piece,  also 
by  Orcagna.  Its  ch.ef  subject  is  Christ  giving  the  keys,  on 
the  one  hand,  to  Peter,  and  the  book,  on  the  other  hand,  to 
the  great  Dominican  saint  and  philosophical  teacher,  St. 
Thomas  Aquinas.  The  allegorical  meaning  is  further  ac- 
centuated by  the  presence  of  the  Madonna  and  St.  John, 
patrons  of  this  church  and  city.  We  have  thus  St.  Thomas 
placed  almost  on  a  plane  of  equality  with  the  Papacy.  The 
other  figures  are  St.  Michael  the  Archangel,  St.  Catherine 
with  her  wheel,  St.  Lawrence  with  his  gridiron,  and  St.  Paul 
with  his  sword.  In  the  predella  beneath  are  subjects  taken 
from  the  stories  of  the  same  saints.  The  most  interesting 
is  the  struggle  for  the  soul  of  the  Emperor  Henry  II.  (See 
Mrs.  Jameson.)  The  Emperor  is  seen  dying  :  then,  devils 
go  to  seize  his  soul :  a  hermit  sees  them :  St.  Michael  holds 
the  scales  to  weigh  the  souls :  the  devils  nearly  win,  when, 
suddenly,  St.  Lawrence  descends,  and  places  in  the  scale 
a  gold  casket  which  the  Emperor  had  presented  to  him 
(once  at  Bale,  now  in  the  goldsmiths'  room  at  the  Musde  de 
Cluny) :  the  scale  bends  down,  and  the  devils  in  a  rage  try  "' 
to  seize  St.  Lawrence.  A  quaint  story,  with  an  obvious 
moral,  well  told  in  this  predella  with  spirit  and  vigour. 

This  chapel  as  a  whole  is  one  of  the  best  smaller  examples 
now  remaining  of  a  completely  decorated  Giottesque  in- 
terior. Not  a  single  element  of  its  frescoes  and  Dominican 
symbolism  should  pass  without  notice.  Observe,  before 
you  leave,  St,  Thomas  Aquinas  on  the  arch,  in  four  char- 
acters, as  Prudence,   Justice,   Courage,  and  Temperance. 


,;S**«^**^*fei*^Kss^*^»^toi8Sii«*ss^^ 


44 


FLORENCE 


[II. 


The  Strozzi  Chapel  again  is  one  to  which  you  must  pay 
frequent  visits. 

Descend  the  steps.  The  door  in  front  leads  to  the 
Sacristy.  The  most  interesting  object  in  it  is  a  lavatory 
in  marble  and  terra-cotta  of  the  school  of  Delia  Robbia. 
The  pictures  of  Dominican  saints  with  which  it  is  adorned 
have  little  more  than  synibolical  interest. 

The  L  aisle  contains  no  object  of  special  interest. 

This  completes  a  first  circuit  of  the  church  itself ;  but 
you  have  still  to  see  the  most  interesting  object  within  its 
walls— the  Spanish  Cliapei.  Do  not  attempt,  however, 
to  do  it  all  in  one  day.  Return  a  second  briglit  morning, 
between  lo  and  12,  and  pay  a  visit  to  this  gem  of  early 
architecture  and  painting. 

A  door  to  the  R  of  the  raised  Strozzi  cliapcl.  in  the  L 
Transept,  leads  into  the  cloisters.  It  is  locked.  You 
must  get  the  Sacristan  to  open  it.  He  is  usually  to  be  found 
in  the  Sacristy. 

The  first  cloister  which  you  enter,  known  as  the  Sepolcreto, 
and  containing  numerous  mediteval  or  modern  tombs,  has 
faded  Giottesque  frescoes,  two  of  which,  in  the  bay  to  the 
R  as  you  descend  the  steps,  pretty  enough  in  their  way, 
have  been  made  famous  (somewhat  beyond  their  merits) 
by  Mr.   Ruskin.      That  on    the  L,  in   a  curiously   shaped 
lunette,  represents,  with  charming  naivete,  the  Meeting  of 
Joachim  and  Anna  at  the  Golden  Gate.    Observe  the  con- 
ventional types  of  face  and  dress  in  the  two  saints,  and  the 
angel  putting  the  heads  of  the  husband  and  wife  together  : 
also,  the  servant  carrying  the  rejected  offering,  all  of  which 
are  stereotyped  elements  in  the  delineation  of  this  subject. 
The  fresco  to   the   R  represents   the  Birth  of  the  Virgin, 
and  may  be  instructively  compared  with  the  Ghirlandajo 
upstairs,  and  also  with  the  Taddeo  Gaddi  and  the  Giovanni 
da  Milano  at  Santa  Croce.    The  simplicity  of  the  treatment 
is  indeed  reminiscent  of  Giotto's  manner,  but  few  critics, 
I  fancy,  will  agree  with  Mr.  Ruskin  in  attributing  these 
works  to  the  actual  hand  of  the  master.    Remember,  too, 


iaau#:%^ 


.vAifta 


[n. 
bich  you  must  pay 

front  leads  to  the 
in  it  is  a  lavatory 
1  of  Delia  Robbia. 
vhich  it  is  adorned 

al  interest. 

church  itself;  but 
ig  object  within   its 

attempt,  however, 
md  bright  morning, 
J  this  gem  of  early 

EZi  chapel,  in  the  L 

It  is  locked.  You 
i  usually  to  be  found 

n  as  the  Sepolcreto, 
modern  tombs,  has 
h,  in  the  bay  to  the 
lOUgh  in  their  way, 
leyond  their  merits) 
a  curiously   shaped 
vet6,  the  Meeting  of 
e.     Observe  the  con- 
e  two  saints,  and  the 
[  and  wife  together : 
jffering,  all  of  which 
ition  of  this  subject. 
Birth  of  the  Virgin, 
>rith  the  Ghirlandajo 
ddi  and  the  Giovanni 
city  of  the  treatment 
ner,  but  few  critics, 
in  attributing  these 
ten    Remember,  too, 


".] 


SANTA    MARIA    NOVELLA 


45 


that  Giotto  is  always  simple,  because  he  is  early  ;  later  times 
continually  elaborated  and  enriched  his  motives.  On  the 
side  walls,  L,  the  angel  appears  to  Joachim  and  Anna 
simultaneously  ;  R,  the  Presentation  of  the  Virgin  in  the 
Temple.  Compare  these  naive  works  with  the  frescoes  in 
the  Madonna  dell'  Arena  at  Padua,  and  other  examples. 

This  cloister  also  contains  a  vulgarly  coloured  and  some- 
what coarse  terra-cotta  relief  of  Christ  as  the  Gardener  and 
the  Magdalen  in  the  Garden.  I  will  not  further  particularize, 
but  several  hours  may  be  spent  in  examining  the  objects 
in  this  single  courtyard  alone,  many  of  which  are  extremely 
interesting.  From  the  base  of  the  oratory  containing  this 
relief  is  also  obtained  one  of  the  best  views  of  the  church 
and  campanile. 

The  second  cloister,  known  as  the  Chiostro  Verde,  is 
decorated  with  very  faded  frescoes,  in  shades  of  green, 
representing  the  history  of  Genesis.  Good  general  view  of 
the  church  and  campanile  from  the  further  end  of  this 
cloister. 

[The  green  frescoes,  I  fear,  will  scarcely  interest  you  at 
first,  and  may  be  passed  over  with  a  few  glances  on  a 
preliminary  visit.  But  you  must  return  to  them  later  on, 
because,  defaced  and  destroyed  as  they  are  (more  so  within 
my  own  memory)  they  are  yet  important  links  in  the  history 
of  Renaissance  art,  and  especially  in  the  development  of 
perspective,  anatomical  knowledge,  and  the  drawing  of  the 
nude  human  body.  (See  Layard's  Kugler,  under  Paolo 
Uccello.)  They  represent  the  incidents  of  Genesis,  by 
various  hands  ;  but  the  best  are  the  Sacrifice  of  Noah,  and 
the  Deluge,  by  Paolo  Uccello,  not  in  the  least  sacred,  and 
full  of  admirable  naturalistic  incidents.  They  help  to  bridge 
over  the  gap  in  this  church  between  Giottesques  like  Orcagna 
and  late  isth  century  Renaissance  painters  like  Filippino 
Lippi  and  Ghirlandajo.  I  will  not  dwell  upon  them  now, 
but  advise  you,  at  some  future  time,  when  your  conceptions 
of  the  evolution  of  art  in  Tuscany  have  become  clearer,  to 
return  to  them  for  some  hours  at  least  of  patient  study.] 

A  door  to  the   R  of  the   entrance  gate  leads  into  the 


S^4.'*&Mi*te'iS<*"'-" 


■waML. 


46 


FLORENCE 


[M. 


famous  cappeila  degll  Spagnuoll,  or  Spanisli  Chapel, 
whose  beautiful  external  architecture,  with  twisted  columns, 
should  be  observed  before  entering.  It  was  erected  about 
1340  by  a  rich  Florentine  citizen,  for  the  celebration  of  the 
Festival  of  Corpus  Christi,  then  newly  instituted.  Its  pre- 
sent name  dates  only  from  the  age  of  Cosimo  I.,  who  assigned 
it  to  the  suite  of  Eleanor  of  Toledo. 

This  chapel  is  the  finest  existing  example  (save  the  Arena 
at  Padua)  of  a  complcteb  decorated  Giottesque  interior. 
The  frescoes  are  by  uncertain  artists,  but  rank  among  the 
noblest  productions  of  their  period.  It  would  require  many 
days  adequately  to  examine  all  the  beautiful  objects  which 
this  building  contains.  I  will  therefore  call  attention  in 
detail  to  a  few  only.  Those  first  mentioned  are  peculiarly 
appropriate  to  a  Chapel  of  the  Corpus  Christi. 

On  the  altar  wall,  facing  you  as  you  enter,  is  the  History 
of  the  Passion,  in  consecutive  sections,  after  the  early 
fashion  :  probably  by  an  artist  of  the  School  of  Siena. 
L,  the  Way  to  Calvary.  Above  it,  the  Crucifixion,  every 
detail  of  which  should  be  closely  studied.  Notice  in 
particular  St.  Longinus,  the  centurion  who  pierced  the  side 
of  Christ,  and  who  was  afterwards  converted,  distinguished 
by  his  halo.  On  the  R,  Christ  descending  to  Hades, 
and  liberating  the  souls,  with  the  crushed  and  baffled 
demons.  First  among  the  dead  are  Adam,  Abel  with  his 
lamb,  and  the  various  Patriarchs.  Every  detail  in  these 
three  works  will  give  a  key  to  other  compositions. 

The  compartment  of  the  celilng  above  this  fresco  re- 
presents the  Resurrection,  with  Christ  in  a  mandorla ;  the 
Three  Women  at  the  tomb ;  and  Christ  and  the  Magdalen 
in  the  Garden.  Observe  once  more  every  detail  of  this 
beautiful  composition  :  it  is  probably  the  work  of  Antonio 
Veneziano.  (But  do  not  trouble  much  at  this  suige  about 
these  artists :  confine  your  attention  to  the  details  of  the 
action.) 

The  R  wall  contains  a  very  famous  **  fresco,  commonly 
attributed  to  Taddeo  Gaddi,  but  much  more  probably  a 
work  of  Simone  Martini  or  some  other  artist  of  the  early 


•i-WISI!\tB«»!Wlf:' 


^£9 


MM 


-  SpanihU  Chapel, 
th  twisted  columns, 
t  was  erected  about 
celebration  of  the 
nstituted.  Its  pre- 
mo  I,,  who  assigned 

pie  (save  the  Arena 
Ljiottesque  interior, 
jt  rank  among  the 
ivould  require  many 
jtiful  objects  which 
e  call  attention  in 
ioned  are  peculiarly 
liristi. 

nter,  is  the  History 
IS,  after  the  early 
:  School  of  Siena, 
e  Crucifixion,  every 
udied.  Notice  in 
ho  pierced  the  side 
:rted,  distinguished 
snding  to  Hades, 
jshed  and  baffled 
dam,  Abel  with  his 
ery  detail  in  these 
)ositions. 

ove  this  fresco  re- 
n  a  mandorla  ;  the 
and  the  Magdalen 
ivery  detail  of  this 
2  work  of  Antonio 
U  this  siage  about 
the  details  of  the 

*  fresco,  commonly 

1  more  probably  a 

artist  of  the  early 


n.] 


SANTA    MARIA   NOVELLA 


47 


School  of  Siena  (Cavalcaselle  attributes  it  to  Andrea  di 
Firenze).  It  represents  the  Way  to  Paradise,  especially  as 
shown  by  the  Dominican  Fathers.  Study  this  noble 
allegorical  work  in  full  detail.  Below,  on  the  L,  is  the 
Church  Militant,  represented  by  the  original  design  of  the 
Cathedral  at  Florence,  as  sketched  by  Arnolfo,  with  Giotto's 
faqade,  and  the  Campanile  beside  it.  Below  this,  as  in  the 
Dantesque  ideal — that  splendid  embodiment  of  mediieval 
Christian  theory — sit  enthroned  the  spiritual  and  temporal 
authorities,  the  Pope,  with  his  pastoral  staff,  and  the 
Emperor,  with  his  sword  and  ball  ;  at  whose  feet  lie  the 
Faithful,  represented  as  a  flock  of  sheep,  and  guarded  by 
black-and-white  dogs,  the  domini  canes,  or  Dominicans.  To 
the  L  of  the  Pope  are  the  various  Church  dignitaries, — 
cardinal,  archbishop,  bishop,  priest,  deacon,  and  monks  and 
nuns  of  the  various  orders,  each  in  the  garb  of  their  profes- 
sion or  monastic  body.  Foremost  among  them  observe  the 
black-and-white  robes  of  the  Dominicans,  closely  allied  with 
their  Franciscan  urethren.  To  the  R  of  the  Emperor,  again, 
stand  the  various  temporal  authorities,  —  kings,  princes, 
marquiies,  dukes,  lawyers,  burghers,  gentlefolk,  pilgrims, 
artizans,  beggars,  and  women.  (Most  of  these  are  said  to 
be  contemporary  portraits— the  Pope,  Benedict  XI  ;  the 
Emperor,  Henry  VII ;  the  King,  Philippe  le  Bel  of  France  ; 
the  Bishop  of  Florence  of  the  period,  and  so  forth  :  while 
others  are  considered  on  merely  traditional  authority  to  be 
Cimabue,  Arnolfo,  Giotto,  Petrarch,  Laura,  etc.  I  advise 
you,  however,  to  pay  little  attention  at  first  to  such  leal  or 
supposed  portraits,  the  identification  of  which  merely  dis- 
tracts you  from  the  underlying  import  and  beauty  of  the 
picture.  In  any  case,  the  poets  and  painters  at  least  seem 
to  be  wrongly  named.  Thus,  the  cavalier  in  the  curious 
white  hood,  usually  pointed  out  by  the  guides  as  Cimabue, 
is  much  more  probably  Walter  de  Brienne,  Duke  of  Athens, 
who  also  appears  on  a  white  horse  in  the  Ciucifixion.)  The 
whole  assemblage  thus  represents  the  mediaeval  world, 
temporal  and  spiritual.  Beyond  these  to  the  R,  the  Way 
to  Paradise,  Dominican  Fathers  pointing  the  road,  and 


W«i.iAs^t>^,^i^'i^^li^9^iSf&^^^^iS^i&Miisfei'-^'  ■■ 


48 


FLORENCE 


[II. 


arguing  and  expostulating  with  heretics,  whom  St.  Thomas 
Aquinas,  on  the  extreme  R,  is  confuting,  so  that  some  of  them 
tear  up  their  heretical  books,  whik  others  stop  their  ears  and 
refuse  to  listen.  Oriental  costumes  (representing  eastern 
sectaries)  may  be  detected  among  them.  In  the  fore- 
ground, the  Dominicans,  as  black-and-white  dogs,  xrt 
worrying  the  heretical  teachers  under  the  guise  of  wolves, 
thus  symbolising  the  terrible  functionj  of  the  Inquisition. 
In  the  second  tier,  winding  round  above  to  the  R,  are  seen 
the  pleasures  and  vanities  of  this  wicked  world,  with  dancing 
figures  ;  while  a  Dominican  Father  is  showing  souls  the  way 
to  heaven,  and  another  is  giving  absolution  to  sinners.  These 
figures  thus  represent  Sin,  Confession,  Absolution,  and 
Penitence.  Further  tu  the  l,  again,  the  Souls  of  the  Right- 
eous, a  joyous  company,  are  being  welcomed  and  crowned  by 
delicious  little  angels  at  the  Gate  of  Heaven,  where  St. 
Peter  with  the  keys  stands  to  open  the  door  for  them. 
Within  is  a  vista  of  the  Heavenly  City,  with  adoring  saints, 
among  whom  St.  Lawrence  and  St.  Paul  are  specially  con- 
spicuous. Over  the  dome  of  the  church,  too,  is  seen  the 
half-figure  of  the  great  Dominican  nun,  St.  Catherine  of 
Siena.  Thus  this  part  of  the  picture  symbolically  represents 
the  Church  Triumphant,  as  that  below  represents  the  Church 
Militant.  The  whole  composition  is  crowned  by  Christ  in 
Glory,  with  adoring  angels. 

I  have  given  here  only  a  brief  outline  of  this  noble  Glorifi- 
cation of  the  Dominican  Order  ;  but  attentive  observers  will 
discover  for  themselves  many  other  interesting  and  curious 
features  which  I  have  been  compelled  by  considerations  of 
space  to  pass  by  in  silence. 

The  compartment  of  the  celling;  above  this  fresco  repre- 
sents the  Ship  of  the  Church,  under  the  guise  of  the  Apostles 
on  the  Sea  of  Galilee,  with  Christ  and  Peter  walking  on  the 
water.  It  is  partly  copied  from  Giotto's  famous  mosaic,  now 
built  into  the  newer  St.  Peter's  at  Rome.  The  quaint  fisher- 
man to  the  left  is  common  to  both  of  them. 

The  entrance  wall  has  a  Last  Supper,  and  frescoes  of 
the  History  of  St.  Dominic  and  St.  Peter  Martyr,  the  founder 
and  the  holy  man  of  the  Dominican  Order. 


■w.^WT-.-'^^^^^'i 


''i^^^^mmmims^m:^" 


[u. 

,  whom  St.  Thoinas 
so  that  some  of  them 
8  Slop  their  ears  and 
epresenting  eastern 
lem.  In  the  fore- 
nd-white  dogs,  ire 
he  guise  of  wolves, 

of  the  Inquisition. 
e  to  the  R,  are  seen 
I  world,  with  dancing 
lowing  souls  the  way 
on  to  sinners.  These 
in,  Absolation,   and 

Souls  of  the  Right- 
med  and  crowned  by 
Heaven,  where  St. 
the  door  for  them, 
with  adoring  saints, 
1  are  specially  con- 
ch, too,  is  seen  the 
in,  St.  Catherine  of 
nbolically  represents 
:presents  the  Church 
owned  by  Christ  in 

of  this  noble  Glorifi- 
entive  observers  will 
iresting  and  curious 
3y  considerations  of 

vt  this  fresco  repre- 
guise  of  the  Apostles 
'eter  walking  on  the 
famous  mosaic,  now 
.  The  quaint  fisher- 
lem. 

iper,  and  frescoes  of 
r  Martyr,  the  founder 
der. 


li'^ 


ii.i 


SANTA   MARIA    NOVELLA 


40 


The  compartment  of  the  celling  above  these  has  an 
Ascension,  with  Christ  in  a  mandorla,  the  apostles  and 
Madonna,  and  the  messenger  angels  (by  Taddeo  Gaddi  ?). 

The  L  wall  contains  a  highly  allegorical  and  architectural 
picture,  doubtless  correctly  ascribed  to  Taddeo  Gaddi,  and 
representing  the  Glory  of  St.  Thomas  Aquinas.  Above,  the 
Saint  is  seated,  enthroned,  with  the  open  book,  as  the 
Doctor  of  the  Church,  and  the  great  Dominican  teacher. 
Heneath  his  feet  are  the  discomfited  heretics,  Arius, 
Sabellius,  and  Averrhoes.  (See  the  similar  scene  by  Benozzo 
Gozzoli  in  the  Louvre.)  By  his  side  are  the  great  teachers 
among  the  Prophets  and  Apostles,  their  names  inscribed 
beneath  them.  On  the  R,  St.  Matthew  and  St.  Luke  the 
Evangelists,  Moses  with  his  conventional  horns,  Isaiah,  and 
King  Solomon.  O.,  the  L,  St.  John  and  St.  Mark  the 
Evangelists,  St.  Paul,  the  great  organiser  of  Christian 
teaching,  David  as  the  Psalmist,  and  Job  as  the  dialectician 
of  the  Old  Testament.  Thus  these  figures  represent  Doctrine 
and  Dogma  under  both  dispensations.  Only  in  this  Domini- 
can church  could  a  great  Dominican  teacher  be  so  highly 
exalted  at  the  expense  of  the  earlier  canonical  writers.  Note 
the  angels  above,  with  their  various  symbols. 

The  lower  tier  consists  of  symbolical  figures  of  the  Arts 
and  Sciei.^es,  with  various  personages  at  their  feet  distin- 
guished for  proficiency  in  them.  The  following  is  their  order 
from  L  to  VL.— Civil  Laiu,  with  Justinian  :  Canon  Law,  with 
Pope  Clement  V  (a  portrait) :  Practical  Theology,  with 
Pietro  Lombardo,  "magister  sentv  .tiarum"  :  Speculative 
Theology,  with  Boethius  :  Faitk,  with  St.  Dionysius  the 
Areopagite :  Hope,  with  St.  John  of  Damascus  :  Charity, 
with  St.  Augustine  :  Arithmetic,  with  Pythagoras  :  Geometry, 
with  Euclid  :  Astronomy,  with  Ptolemy  :  Music,  with  Tubal- 
cain  :  Dialectic,  with  Aristotle  :  Rhetoric,  with  Cicero  :  and 
Grammar,  with  Priscian.  The  whole  thus  represents  the 
philosophical  and  teaching  faculty  of  the  Dominicans,  as  the 
opposite  side  represents  their  pastoral  activity   in  saving 

souls.    The  two  great  frescoes  may  indeed  be  distinguished 

as  the  spiritual  and  temporal  mission  of  the  Dominicans. 


s«sPSfB®^S!5 


■/.:'d%ili^,^i"'^^--''- 


.  1,  i}f»    . 


ipr 


MU^' 


50 


FLORENCE 


fn. 


The  compartment  of  the  celling  above  this  fresco  repre- 
sents the  Descent  of  the  Holy  (ihost  on  the  Dny  of  I'entc- 
cost  (by  Taddco  Ga(Uli  t).  The  Spirit,  as  a  dove,  in  descend- 
ing from  heaven,  while  tongues  of  fire  alight  on  the  heads 
of  the  Madonna  and  Apostles,  chief  among  whom,  in 
accordance  with  the  authoritative  character  of  Dominican 
teaching,  is  naturally  St.  I'eter.  Helow,  by  the  closed  doors, 
are  the  various  nations,  who  hear  the  Apostles  speak  with 
tongues,  each  understanding  that  of  his  own  country. 
Observe  the  Moors  and  the  Oriental  costume  of  some  of  the 
characters. 

Come  often  to  this  chapel  until  you  have  learned  to  under- 
stand its  architectural  plan,  and  have  puzzled  out  such  of  its 
infinite  details  as  cannot  here  be  adeciuatdy  explained  to 
you.  It  is  not  well,  indeed,  to  be  told  everything.  I  shall 
be  quite  satisfied  if  I  put  you  on  the  track,  leaving  you  to 
find  out  many  points  for  yourself.  15ut  sit  long  and  observe, 
remembering  that  everything  in  \.\\.i  Chaplei -house  of 
Uominicanism  is  full  of  meaning.  In  my  jud"ment,  too, 
these  pictures  are  as  beautiful  as  works  of  art  as  they  are 
important  as  a  body  of  Dominican  theology.  The  little 
group  of  the  Souls  as  they  enter  Heaven  is  one  of  the  most 
\  charming  and  attractive  conceptions  of  all  Giottesque 
painting. 

It  is  impossible  to  overestimate  the  value  of  photographs 
for  the  study  of  frescoes,  especially  when  the  originals  are 
either  defaced  or  faded.  Every  one  knows  how  fatiguing  it 
is  to  stand  long  in  a  chu'ch  and  look  up  at  the  walls  :  the 
photograph  you  can  inspect  at  your  leisure  at  home,  and  so 
familiarise  yourself  at  least  with  the  composition  and  the 
story  of  the  subject.  After  you  have  thus  got  to  know  the 
picture  in  black-and-white,  return  to  the  church  to  examine 
it  again  :  you  will  then  find  that  the  colour  and  the  size,  as 
well  as  the  artist's  touch,  vivify  and  brighten  what  in  the 
photograph  was  often  dead  and  meaningless.  Also,  the 
photograph,  besides  giving  you  the  composition  in  a 
measurable  space  which  the  eye  can  grasp,  so  generalises 


-. !.-.■«  T--'«ia.|«,,^jga;igg^>gf 


ft 


[tl. 

■e  this  frfsco  repre- 
the  Day  of  I'entc- 

s  a  dove,  in  descend- 

klight  on  the  heads 
among   whom,  in 

acter  of  Dominican 
by  the  closed  doors, 

Vpostles  speak  with 
his    own    country. 

itume  of  some  of  the 

,ve  learned  to  undcr- 

izzled  out  such  of  its 

[uatcly  explained  to 

everything.     I  shall 

ack,  leaving  you  to 

sit  long  and  observe, 

I    Chaptei -house    of 

my  jud"mcnt,  too, 

of  art  as  they  are 

heology.    The  little 

1  is  one  of  the  most 

of  all    Giottesque 


ilue  of  photographs 

in  the  originals  are 
)W3  how  fatiguing  it 
p  at  the  walls  :  the 
jre  at  home,  and  so 
:omposition  and  the 
us  got  to  know  the 
church  to  examine 
our  and  the  size,  as 
■ighten  what  in  the 
.ningless.  Also,  the 
composition  in  a 
;rasp,  so  generalises 


"1 


SANTA    MARIA    NOVELLA 


ft' 


the  figures  as  often  to  supply  in  effect  missing  lines  and 
obscure  portions.  Of  course  you  must  not  rely  on  the 
photograph  alone  :  but,  when  used  in  conjunction  with,  and 
as  supplementary  to,  the  fre:<cocs  themselves,  these  secondary 
aids  are  simply  invaluable.  I  advise  you  to  apply  them  here 
in  particular  to  the  Ghirlandajos  of  the  choir  (especially  for 
( omparison  with  the  two  Lives  of  the  Virgin  by  Taddeo 
(iaddi  and  Giovanni  da  Mil.mo  in  Santa  Crocc),  and  also  to 
the  frescoes  of  the  Spanish  Chapel.  If  you  wish  to  specialise, 
I  would  suggest  as  the  best  theme  the  subject  of  the  Presen- 
tation of  the  Virgin  in  the  Temple,  which  is  treated  by  all 
three  of  these  successive  artists,  as  well  as  by  several  punel- 
painters  at  the  Belle  Arti. 

Above  all,  seek  to  learn  the  legends.  Reli5;ious  symbolism 
is  the  language  of  early  art  :  you  cannot  expect  to  under- 
stand the  art  if  you  will  not  take  the  trouble  to  acquire  the 
language. 

If  you  read  French,  and  wish  to  go  deeper   into  the 
paintings  in  this  church  and  elsewhere  in   Florence,  get 
Lafenestre's  Florence,  in  the  scries  of  La  Pcintureen  Europe 
-a  capital  book  which  gives  a  full  account  of  every  note- 
worthy picture  in  the  city. 


Ill 
THE  CATHEDRAL  GROUP 

r   A    FTER  the  Dominicans  and    the  Franciscans,  the 
L./^    town  began  to  bestir  itself. 

In  Dante's  time,  we  saw,  the  only  church  of  any  impor- 
tance which  Florence  yet  possessed  was  the  old  octagonal 
Baptistery,  then  the  Cathedral  of  San  Giovanni  Battista. 
This  building  (praised  by  Dante  beyond  its  merits,  because 
the  town  had  then  none  better)  is  a  small  and  not  wholly 
successful  specimen  of  that  beautiful  Tuscan- Romanesque 
architecture,  which  reaches  so  splendid  and  typical  a  de- 
veloptnent  in  the  Cathedral  of  Pisa  and  its  surrounding 
edifices.  If  you  have  rot  been  to  Pisa,  however,  you  can 
only  compare  San  Giovanni  with  the  church  of  San  Miniato 
on  the  hill  south  of  Florence  (which  go  up  to  see  after  in- 
specting the  Baptistery).  But  San  Giovanni  was,  in  its 
original  condition,  a  much  more  insignificant  building  than 
at  present,  its  chief  existing  external  ornaments  being  the 
great  bronze  doors,  and  the  bronze  or  marble  statues,  which 
were  added  later. 

At  the  end  of  the  I3lh  cent.,  once  more,  when  Santa 
Croce  and  Santa  Maria  Novella  were  rapidly  rising  in  the 
garden  belt  outside  Florence,  the  city  began  to  be  not  un- 
naturally ashamed  of  this  mean  little  Cathedral.  Pisa  had 
already  her  magnificent  group  of  buildings  fully  completed  ; 
Siena,  stirred  to  rivalry,  had  begun  and  nearly  finished  her 
noble  and  beautiful  Duomo.  Florence,  now  risen  to  the 
first  position  in  Tuscany,  felt  it  incumbent  upon  her  to  pro- 
•duce  a  building  which  should  outdo  both  of  them.  In  this 
design,  indeed,  she  was  not  wholly  successful :  her  Duomo, 


-  "t.;  ~Tr  -^  ;^r,^yr^^3^.^r;^^^-^3J^^n/ 


.  GROUP 

d    the  Franciscans,  the 

f. 

ly  church  of  any  impor- 

i  was  the  old  octagonal 

'  San  Giovanni  Battista. 

lyond  its  merits,  because 

a  small  and  not  wholly 
1  Tuscan- Romanesque 
endid  and  typical  a  de- 
isa  and  its  surrounding 

Pisa,  however,  you  can 
e  church  of  San  Miniato 
:h  go  up  to  see  after  in- 
in  Giovanni  was,  in  its 
iignificant  building  than 
lal  ornaments  being  the 
or  marble  statues,  which 

)nce  more,  when  Santa 
ere  rapidly  rising  in  the 
ity  began  to  be  not  un- 
le  Cathedral.  Pisa  had 
lildings  fully  completed  ; 
and  nearly  finished  her 
rence,  now  risen  to  the 
ambent  upon  her  to  pro- 
both  of  them.  In  this 
successful :  her  Duomo, 


iii.i 


THE  CATHEDRAL   GROUP 


53 


though  larger  than  either,  fails  to  come  up  to  its  elder  rivals 
in  many  important  points  of  beauty.  Fully  to  understand 
the  Cathedral  of  Florence,  therefore,  you  sbou'd  h  we  seen 
first  both  Pisa  and  Siena,  on  which  it  is  based,  with  enor- 
mous differences.  At  Pisa,  the  actual  dome,  above  the 
intersection  of  nave  and  transept,  is  relatively  insignificant. 
At  Siena,  it  assumes  somewhat  larger  proportions.  At 
Florence,  even  as  originally  designed  by  Arnolfo,  it  was  to 
be  very  much  bigger,  and,  as  completed  by  Brunelleschi,  it 
far  outdid  all  previous  efforts. 

The  Baptistery  had  of  course  been  dedicated,  like  all 
other  baptisteries,  to  St.  John  Baptist,  who  was  therefore 
the  patron  saint  of  Florence.  But  the  increasing  impor- 
tance of  the  Holy  Virgin  in  the  13th  cent,  (see  my  Paris, 
under  Notre-Dame)  made  the  Florentines  desire  to  dedicate 
this  their  new  Cathedral  to  Our  Lady.  It  was  therefore 
erected  in  honour  of  Santa  Maria  del  Flore,  that  is  to 
say.  Our  Lady  of  the  Florentine  Lily,  which  appears  in 
the  city  arms,  and  pervades  all  Florence.  You  will  see  it 
everywhere.  The  Duomo  was  begun  in  1294,  on  the  site 
occupied  by  the  earlier  church  of  Santa  Reparata,  who  also 
ranked  as  one  of  the  chief  p?*:ron  saints  of  old  Florence. 
As  usual  in  such  cases,  many  mem.orials  r*"  the  saint  of  the 
original  dedication  survive  to  this  day  in  the  existing  build- 
ing. The  first  architect  was  Arnolfo  di  Cambio,  a  pupil 
of  Niccolo  Pisano  who  executed  the  beautiful  pulpit  in  the 
Baptistery  at  Pisa,  where  antique  work  is  first  nnitated, 
(Recollect  too  that  Giovanni  Pisano,  who  built  the  cathedral 
of  Siena,  was  himself  a  son  of  Niccoib.)  Thus,  in  order  to 
fully  understand  the  sequence  and  meaning  of  these  three 
cathedrals,  with  their  sculpture  and  architecture,  you  should 
;;:  possible)  pay  visits  to  them  in  the  order  of  Pisa,  Siena, 
Florence,  with  Bologna  thrown  in  on  your  way  homeward. 
This  alone  will  enable  you  to  understand  the  marvellous  in- 
fluence of  the  Pisani,  and  especially  of  that  singular  and 
original  artist,  Niccol6,  the  first  mediaeval  craftsman  who 
aimed  at  imitation  of  and  rivalry  with  the  antique. 

Arnolfo's  wort  was  afterwards  carried  on  by  Qlotto,  who. 


"^'i^'^vj.r.-stm^i^: 


54 


FLORENCE 


[111. 


T 


like  most  men  of  his  century,  «as  architect  and  sculptor  as 
well  as  painter.  It  was  Giotto  who  added  to  the  original 
design  the  beautiful  marble-crusted  Campanile,  the  noblest 
work  of  its  sort  in  Italy.  The  fresco  of  the  Church  Mili- 
tant and  Triumphant  in  the  Spanish  Chapel  shows  the 
original  form  inteudcd  for  the  cathedral  by  Arnolfo,  with  the 
additions  made  by  Giotto  and  Taddeo  Qaddl.  The  ex* 
terlor  w"  gradually  incrusted  during  successive  ages  with 
its  beautiful  polychromatic  marble  coating,  with  the  excep- 
tion of  the  facade,  the  lower  part  of  which  alone  was  so 
adorned,  as  may  be  seen  in  Poccetti's  lunette  ir,  the  cloisters 
of  San  Marco,  to  be  hereafter  mentioned.  This  facade  was 
afterwards  pulled  down,  and  the  front  of  the  Cathedral  re- 
mained a  shapekss  rr.ass  of  rubble,  like  that  of  San  Lorenzo, 
till  1875.  '^^^  dome,  with  its  beautiful  ribs,  which  make  it 
so  much  lovelier  than  any  other,  was  designed  by  Brunel- 
leschi,  and  constructed  in  1420-34.  The  faqade,  which  is 
quite  modem,  was  added  by  De  Fabris  in  1875. 

A  full  study  cf  the  cathedral  of  Florence  with  its  group  ot 
subsidiary  buildings  can  only  be  attempted  with  the  aid  of  a 
thorough  architectural  description.  You  must  arrive  at  it 
gradually.  I  will  content  myself  with  poinding  out  a  few  of 
the  more  salient  elements  likely  to  interest  the  general 
reader.  If  you  wish  to  know  more,  run  down  to  Pisa,  and 
ur  to  Siena,  and  study  carefully  the  work  of  the  Pisani. 
Recollect  that  while  in  painting  Florence  was  fairly  original, 
in  architecture  and  sculpture  she  did  but  follow  the  much 
earlier  lead  of  the  two  other  great  Tuscan  cities. 

Remember  then  (i)  that  the  Baptistery  is  practically  the 
oldest  building  in  Florence,  and  is  the  original  cathedral, 
but  that  most  of  its  external  decorations  are  of  later  date. 
(2)  That  it  is  dedicated  to  St.  John  Baptist,  and  that  all 
its  parts  have  reference  to  its  purpose  and  dedication.  (3) 
That  the  Cathedral  is  dedicated  to  Our  Lady,  and  that  it 
replaces  an  cider  church  of  5anta  Reparata.  (4)  That  it 
owes  its  existing  form  to  t'le  successive  efforts  of  many  great 
architects. 

A  few  more  points  must  be  noted.    The  Cathedral,  when 


-a-  ^.trmms^mw^^sm, 


[in. 

ct  and  sculptor  as 
ed  to  the  original 
panile,  the  noblest 
the  Church  Mili- 
rhapel  shows  the 
y  Arnolfo,  with  the 
Qaddi.     The  ex- 
iccessive  ages  with 
ig,  with  the  excep- 
hich  alone  was  so 
!tte  ir.  the  cloisters 
This  faqade  was 
the  Cathedral  re- 
at  of  San  Lorenzo, 
ibs,  which  make  it 
signed  by  Brunel- 
^  faqade,  which  is 
1  1875. 

e  with  its  group  ot 
d  with  the  aid  of  a 
must  arrive  at  it 
linking  out  a  few  of 
:erest  the  general 
down  to  Pisa,  and 
ork  of  the  Pisani. 
was  fairly  original, 
t  follow  the  much 
cities. 

f  is  practically  the 
original  cathedral, 
are  of  later  date. 
ptist,  and  that  all 
d  dedication.  (3) 
Lady,  and  that  it 
rata.  (4;  That  it 
brts  of  many  great 

!  Cathedral,  when 


ni.] 


THE  CATHEDRAL   GROUP 


55 


completed,  was  the  largest  church  then  existing  in  Italy. 
St.  Peter's  at  Rome  was  designed  to  outdo  it.  Its  dome 
was  the  biggest  ever  yet  erected  :  view  it  from  the  Piazzale 
Michael  Angelo  on  the  way  to  San  Miniato,  and  observe  how 
its  ribs  make  it  much  more  beautiful  and  effective  than  any 
other  dome.  In  addition  to  its  original  and  secondary 
patrons,  the  Cathedral  also  contained  the  remains  of  the 
local  holy  bishop,  St.  Zenoblus  (San  Zanobi),  who  was  of 
great  importance  in  early  times  as  an  object  of  cult  in 
Florence.  The  Duomo,  again,  was  confessedly  erected  (in 
the  document  which  decrees  it)  as  a  monument  worthy  in 
size,  dignity,  and  beauty,  not  of  its  sacred  use,  but  of  the 
Florentine  people.  Few  churches  are  on  the  whole  so  much 
a  national  monument,  and  so  little  a  place  of  divine  worship. 
Everything  here  is  sacrificed  to  the  beauty  and  size  of  the 
exterior,  which  is  vast  and  impressive.  The  Interior,  on 
the  other  hand,  being  destitute  of  vistas  and  long  rows  ot 
columns,  looks  very  much  smaller  than  it  really  is,  and 
contrasts  most  unfavourably  in  this  respect  with  the  immense 
apparent  size  of  Pisa.  The  architects  fell  into  the  mistake 
of  thinking  that  by  making  all  the  parts  large,  you  would 
gain  an  idea  of  vastness— which  is  quite  untrue.  You  can 
only  take  it  all  in,  for  as  big  as  it  is,  by  visiting  it  again 
and  again.  There  is  little  or  nothing,  however,  to  explain 
or  understand.  You  must  dwell  upon  it,  and  it  grows  upon 
you.  I  do  not  enlarge  upon  the  history  of  the  Church, 
because  that  you  must  read  up  in  Miss  Horner,  Mrs. 
Oliphant,  Fergusson,  and  elsewhere.  See  also  Perkins's 
Tuscan  Sculptors.} 

Visit  first  the  oldest   Cathedral. 

Go  along  the  Via  Cerretani  as  far  as  the  Piazza  which  con- 
tains the  Baptistery.  The  column  of  speckled  marble  which 
faces  you  to  the  R,  just  N.  of  the  Baptistery,  was  erected  to 
commemorate  a  miracle  which  took  place  on  the  Translation 
of  the  Remains  of  St.  Zenobius  from  San  Lorenzo.  A  tree 
which  grew  on  this  spot  burst  suddenly  into  leaf,  out  of  due 
season,  as  the  body  of  the  saint  was  being  carried  by.     You 


f 


^^^^W^S^Bi. 


1 


56 


FLORENCE 


[III. 


will  find  many  pictures  of  this  curious  miracle  in  F  loren.tine 
galleries.     Remember  it. 

To  your  R  stands  the  Baptistery  itself,  the  original 
cathedral.  It  is  an  octagon.il  building,  perhaps  enclosing 
portions  of  an  early  Roman  Temple,  but  entirely  rebuilt  and 
encased  in  marble  in  the  12th  cent.  Notice  the  three 
different  stories  of  which  it  is  composed  :  its  Tuscan- 
Romanesque  style,  its  round  arches,  its  flat  pilasters,  its 
windows  (later  in  their  present  form),  and  its  octagonal 
cupola  (best  observed  from  neighbouring  heights,  such  as 
the  Piazzale  on  the  Viale  dei  Colli).  Walk  right  round  the 
church  and  note  the  square  apse  or  tribune  on  the  w. 

Being  a  baptistery,  this  building  is  mainly  decorated  with 
(late)  works  referring  to  the  Life  of  the  Baptist.  The 
groups  above  the  doors,  externally,  consist  each  of  three 
figures.  Over  the  door  to  the  N.  is  the  Preaching  of  St. 
John  Baptist,  a  trio  in  bronze  by  Francesco  Rustici  (1511), 
said  to  have  been  designed  by  Leonardo  da  Vinci.  The 
hearers  represent  a  Pharisee  and  a  Sadducee.  Over  the 
door  to  the  E.  (facing  the  Cathedral),  is  the  Baptism  of 
Christ  by  John,  a  work  of  Andrea  Sansovino,  1502.  The 
angel  is  later.  This  set  is  of  marble.  Over  the  door  to  the 
S.  is  the  Beheading  of  John  the  Baptist,  in  bronze,  by 
Vincenzo  Danti  (1571),  where  the  third  figure  is  ingeniously 
made  up  by  Herodias's  daughter  waiting  for  the  head  with  a 
charger.  These  three  groups  thus  represent  in  this  order 
the  principal  events  in  the  life  of  the  patron. 

The  bronze  doors  beneath  are  celebrated.  The  first  and 
oldest  of  these  is  on  the  South  side,  below  the  Beheading 
of  John  the  Baptist.  It  was  completed  by  Andrea  Pisano, 
the  pupil  of  Giovanni  (perhaps  a  grandson  of  Niccol6),  in 
1336,  and  is  the  oldest  work  of  art  of  its  sort  of  any  im- 
portance in  Florence.  It  marks,  in  fact,  the  beginning  of 
the  desire  for  the  plastic  embellishment  of  the  city.  This 
gate  should  be  compared  with  that  of  Bonannus  in  the 
Catheural  at  Pisa,  a  rude  12th  century  work  on  which  it  is 
evidently  based.  Contrasted  with  its  original,  it  exhibits  the 
great  improvement  in  style  effected  by  the  Pisani  :  but  at 


'.m^i£«^s^^^^m' 


[III. 

rade  in  Florentine 

tsclf,  the  original 
perhaps  enclosing 
2ntirely  rebuilt  and 
Notice  the  three 
sed  :  its  Tuscan- 
flat  pilasters,  its 
and  its  octagonal 
g  heights,  such  as 
Ik  right  round  the 
e  on  the  w. 
ily  decorated  with 
the  Baptist.  The 
sist  each  of  three 
!  Preaching  of  St. 
SCO  Rustici  (1511), 
io  da  Vinci.  The 
Iducee.  Over  the 
is  the  Baptism  of 
iovino,  1502.  The 
er  the  door  to  the 
ist,  in  bronze,  by 
jure  is  ingeniously 
)r  the  head  with  a 
sent  in  this  order 
on. 

:d.  The  first  and 
ow  the  Beheading 
3y  Andrea  Pisano, 
on  of  Niccol6),  in 
s  sort  of  any  im- 
the  beginning  of 
Df  the  city.  This 
Bonannus  in  the 
3rk  on  which  it  is 
nal,  it  exhibits  the 
lie  Pisani  :  but  at 


I 


in.] 


THE  CATHEDRAL   CROUP 


57 


the  same  time,  if  compared  with  Niccol6's  reliefs  on  the 
pu!pit  at  Pisa,  it  shows  the  sad  falling  off  in  the  Pisan  school 
after  the  death  of  that  great  and  original  artist,  who,  even 
more  than  Giotto,  inaugurated  the  revival  of  art  in  Italy. 
The  reliefs  represent  scenes  from  the  Life  of  the  Patron 
Saint,  John  the  Baptist.    They  run  as  follows  : 

L  door,  top  (i)  the  angel  appears  to  Zacharias  in  the 
Temple  :  notice  the  g.eat  simplicity  of  the  treatment,  as  in 
Giotto.  (2)  Zacharias  is  struc".  dumb.  (3)  The  Visitation 
of  Mary  to  Elizabeth  (all  these  scenes  are  conventional,  and 
based  upon  earlier  treatments  :  compare  the  arch  in  the 
background  here,  as  well  as  the  relative  positions  of  the 
Madonna  and  St.  Elizabeth,  with  those  you  will  find  in 
contemporary  painting.  This  arch  is  most  persistent). 
(4)  The  Birth  of  the  Baptist.  (5)  Zacharias  writes,  "  His 
name  is  John."  (6)  The  young  John  departs  to  the  wilder- 
ness (this  delicious  scene  strikes  the  key-noie  for  many 
subsequent  Florentine  treatments  of  the  boy  Baptist,  who 
becomes  with  the  Renaissance  a  most  typical  Florentine 
figure).  (7)  The  Preaching  of  John.  (8)  Jesus  comes  to 
Jordan.  (9)  John  baptizes  (the  gates  were  once  richly 
gilded ;  traces  of  the  gilding  appear  best  on  this  relief). 
(10)  The  Baptism  of  Christ,  where  the  positions  of  St.  John 
and  the  angel  are  strictly  conventional,  as  is  also  the 
symbolical  Jordan.  Note  all  t^.e  figures  and  attitudes  care- 
fully.   Omit  the  lower  panels  for  the  present. 

R  door,  beginning  again  at  the  top.  (11)  John  the 
Baptist  before  Herod.  (12)  John  is  sent  to  prison.  (13) 
He  is  visited  by  his  disciples  :  this  scene  also  recurs  very 
frequently.  (14)  Christ  declares,  "  There  hath  not  risen  a 
greater  thai.  John  the  Baptist."  (15)  Herodias's  daughter 
dancing  (the  fiddler  in  this  scene  is  conventional :  look  out 
for  reappearances).  (16)  The  Decollation  of  St.  John.  (17) 
The  head  brought  to  Herodias's  daughter.  (18)  She  gives  \i 
to  her  mother:  again  a  ^c-aie  closely  followed  later.  (19) 
The  Disciples  carry  the  Body  down  to  burial.  (20)  The 
Entombment  of  John.  Notice  the  conventional  representa- 
tion of  an  in>erior  by  a  canopy  or  symbolical  roof. 


i  ^ 


■^'•".'i'.'4--," 


JIL 


■(tg' 


58 


FLORENCE 


[111. 


All  these  reliefs  should  be  most  carefully  studied,  both 
as  scenes  in  the  history  of  John  which  occur  abundantly 
elsewhere  (see  the  silver  altar  from  this  very  church  in  the 
Opera  del  Uuomo),  and  also  as  specimens  of  that  Gothic 
art  which  replaced  the  earlier  attempted  classical  revival 
by  Niccol6  Pisano.  The  ftict  is.  Niccolb  was  a  man  in  front 
of  his  age,  whose  direct  influence  died  out  at  once,  sub- 
sequent sculptors  preferring  a  treatment  more  consonant 
with  the  architecture  and  painting  of  the  moment. 

The  eight  lower  panels  contain  admirable  allegorical 
figures  of  the  Cardinal  Virtues.  Each  is  named  legibly 
beside  it.  Note  them  as  examples  of  the  embodied  alle- 
gories so  popular  during  the  Gothic  period.  The  Re- 
naissance adornment  at  the  sides  of  the  doors  was  added 
in  1452  by  Vittorio  Ghiberti,  son  of  the  great  Lorenzo  whose 
main  work  you  have  next  to  examine. 

Now,  go  round  to  the  second  or  North  Door,  which  comes 
next  in  chronological  order — a  hundred  years  later.  Flor- 
ence was  by  this  time  no  longer  dependant  upon  Pisa  for 
her  artists.  At  the  beginning  of  the  isth  century  it  was 
decided  to  make  another  pair  of  bronze  doors,  and,  after  a 
competition  for  the  choice  of  an  artist,  in  which  Jacopo  della 
Querela  and  others  took  part,  the  Signoria  decided  upon 
commissioning  Lorenzo  Qhiberti  to  execute  them.  His 
original  panel  for  the  competition,  together  with  that  of  his 
chief  rival  Brunelleschi,  may  still  be  seen  at  the  Bargello. 
This  beautiful  door,  in  fact,  represents  the  first  beginnings 
of  Renaissance  Sculpture.  (See  Perkins's  Tuscan  Sculptors, 
a  book  which  you  should  assiduously  read  up  in  the  even- 
ings.) Compared  with  Andrea  Pisano,  the  composition  is 
richer,  the  relief  higher,  the  treatment  more  naturalistic. 
(Orcagna's  reliefs  at  Or  San  Michele  bridge  over  the  gap 
between  the  two  in  the  history  of  Florentine  sculpture.) 
These  gates  are  devoted  to  the  Life  of  Christ,  to  whom  John 
testified. 

The  subjects  begin  on  the  L,  third  panel  from  the  bottom, 
and  (unlike  the  last)  run  right  across,  from  door  to  door, 
being  continued  upward,     (i)  Annunciation,  with  the  usual 


•zm%T^<tfmimmmm^mi. 


'T 


l.ll. 

ully  studied,  both 
occur  abundantly 
sry  church  in  the 
ns  of  that  Gothic 
1  classical  revival 
vas  a  man  in  front 
out  at  once,  sub- 
;  more  consonant 
loment. 

lirable  allegorical 
IS  named  legibly 
le  embodied  alle- 
leriod.  The  Re- 
doors  was  added 
sat  Lorenzo  whose 

)oor,  which  comes 
ears  later.  Flor- 
ant  upon  Pisa  for 
th  century  it  was 
loors,  and,  after  a 
vhich  Jacopo  della 
)ria  decided  upon 
•cute  them.  His 
er  with  that  of  his 
I  at  the  Bargello. 
le  first  beginnings 
Tuscan  Sculptors, 
d  up  in  the  even- 
;he  composition  is 
more  naturalistic, 
idge  over  the  gap 
rentine  sculpture.) 
rist,  to  whom  John 

1  from  the  bottom, 
cm  door  to  door, 
ion,  with  the  usual 


III.] 


THE  CATHEDRAL   GROUP 


59 


loggia  and  lily,  and  God  the  Father  discharging  the  Holy 
Spirit  :  note  the  greater  complexity  and  power  of  com- 
position as  compared  with  Andrea.  (2)  Nativity.  (3)  Ado- 
ration of  the  Magi.  (4)  Finding  of  Christ  in  the  Temple. 
Observe  in  all  the  conventional  treatment.  Above,  (5) 
Baptism  of  Christ.  Compare  with  the  (simpler)  similar 
subject  on  Andcea  Pisano's  gate  .  also,  with  the  contempo- 
rary pictured.  (6)  The  Temptation,  a  fme  conception,  much 
above  any  previous  one.  (7)  Chasing  the  money-changers 
from  the  Temple.  (8)  Christ  and  Peter  on  the  water.  (9) 
The  Transfiguration.  (10)  The  Raising  of  Lazarus :  note 
the  bystanders,  (u)  The  Entry  into  Jerusalem.  (12)  The 
Last  Supper.  A  difficult  composition.  (13)  The  Agony  in 
the  Garden  :  ail  the  attitudes  are  conventional.  (14)  The 
Kiss  of  Judas.  (15)  Flagellation.  (16)  Christ  before  Pilate. 
(17)  The  Bearing  of  the  Cross  (Way  to  Calvary).  (18)  The 
Crucifixion.  (19)  The  Resurrection:  very  conventional. 
(20)  The  Ascension. 

All  these  reliefs  should  be  carefully  studied,  as  realizations 
in  plastic  art  of  scenes  which  will  be  found  in  very  similar 
forms  among  painted  Lives  ol  Christ  elsewhere.  (See,  for 
example,  the  same  moments  in  the  Fra  Angelicos  in  the 
Belle  Arti.)  The  advance  upon  Andrea  Pisano  in  com- 
position, anatomy,  and  treatment  ot  nature  should  also  be 
noted.  Specially  admirable  in  this  way  is  the  spirited  scene 
of  the  Entry  into  Jerusalem. 

The  eight  panels  below  represent :  ist  tier,  the  Four 
Evangelists,  with  their  symbolical  animals  (irregular  order) : 
Matthew  (angel),  Mark  (lion),  Luke  (bull),  John  (eagle). 
Benf.ath  them  are  the  Four  poctors  ot  the  Church,  m 
the  order  of :  Ambrose,  Jerome  translating  the  Vulgate, 
Gregory  with  dove  at  ear,  Augustine  holding  the  De 
Civitate  Dei.  (Each  Doctor  accompanies  the  cognate 
Evangelist.)  Traces  of  gilding  are  here  also  abundantly 
apparent.  Ghiberti  was  occupied  upon  this  great  work 
from  1403  to  1424. 

Now,  go  round  to  the  third  or  Eastern  door,  which 
occupied  Ghiberti  for  the  remainder  of  his  lifetime  (1425- 


yjt' 


6o 


FLoliiENCE 


Liii. 


1452.)  In  this  marvellous  task  Ghiberti  abandoned  the 
simplicity  of  his  earlier  style,  and  endeavoured  to  produce, 
not  so  much  reliefs  as  pictures  in  bronze,  with  effects  of 
perspective  not  proper  to  plastic  art.  The  result  is  never- 
theless most  beautiful  and  striking.  (Intermediate  works 
between  his  two  styles  may  be  found  in  his  font  at  Siena.) 
These  are  the  doors  which  Michael  Angelo  declared  fit  for 
the  gates  of  Paradise.  Set  *'ieai  about  10  a.m.  on  a  brig'it 
morning,  when  the  sun  strikes  them.  The  subjects  are  taken 
from  the  Old  Testament  history. 

tegiii  your  examination  at  the  top  L  panel,  and  proceed 
frvim  R  to  I.,  alternately.  Each  panel  contains  several 
successive  moments  in  the  same  subject.  I  will  mention 
the  most  important,  but  levei.il  others  may  be  discovered 
on  close  inspection,  (i)  'Hie  Creation  of  Adam  ;  of  Eve  ; 
God's  communion  with  Adam  ;  and  the  Expulsion  from 
Paradise  (n'^  e  the  f.g-leavec;.  (2)  Adam  tilling  the  soil ; 
Cain  and  Abel  at  their  different  vocations  ;  their  sacrifices  ; 
the  murder  of  Abel.  (3)  The  Exit  from  the  Ark ;  Noah's 
Sacrifice  ;  his  Drunkenness,  with  Shem,  Ham,  and  Japhet. 
(4)  Abraham  entertains  the  Three  Angels ;  Sarah  at  the 
door  of  the  tent ;  Hagar  in  the  Desert ;  the  Sacrifice  of 
Isaac.  Observe  the  beautiful  stone-pines.  (5)  Esau  with 
his  dogs  comes  to  Isaac  ;  Rachael  and  Jacob;  Isaac  blessing 
Jacob,  etc.  (6)  Joseph  and  his  Brethren  in  Egypt,  several 
successive  moments,  including  the  Finding  of  the  Cup  in 
the  Sack.  (7)  The  Giving  of  the  Law  on  Mount  Sinai. 
(8)  The  Ark  carried  round  the  Walls  of  Jericho,  with  the 
blowing  of  the  trumpets.  (9)  The  Battle  against  the 
Amorites.  (10)  Solomon  receives  the  Queen  of  Sheba. 
You  cannot  too  thoroughly  examine  these  m;',rvellous  bronze 
pictures. 

Notice  also  the  exquisite  decorative  heads,  r'"i  the 
figures  of  biblical  nersonages,  the  most  beautiful  of  whom 
is  perhaps  Miriam  with  the  t'mbrcl  to  the  L.  I  strongly 
advise  you  to  get  photographs  of  all  these  subji'cts,  study 
them  carefully  at  home,  and  then  return  to  compar"  and 
re-examine  the  orit,inals.    Only  thus  can  yc;.  gain  some 


'5)Sis;*5Si'?8! 


Liii. 

rti  abandoned  the 
ivoured  to  produce, 
nze,  with  effects  of 
rhe  result  is  never- 
ntermediate  works 
t  his  font  at  Siena.) 
jelo  declared  fit  for 

10  a.ni.  on  a  brig'it 
B  si'bjects  are  taken 

^aiiel,  and  procee'i 
1  contains  several 
;ct.  I  will  mention 
may  be  discovered 
of  Adam  ;  of  Eve  ; 
le  Expulsion  from 
im  tilling  the  soil ; 
IS  ;  their  sacrifices  ; 
-I  the  Ark ;  Noah's 
,  Ham,  and  Japhet. 
;els ;  Sarah  at  the 
rt ;  the  Sacrifice  of 
2S.  (5)  Esau  with 
cob;  Isaac  blessing 
n  in  Egypt,  several 
ling  of  the  Cup  in 
V  on  Mount  Sinai, 
if  Jericho,  with  the 
Battle  against  the 
Queen  of  Sheba. 
e  nii'.rvellous  bronze 

e   heads,    r-"i    the 

beautiful  of  whom 

the  L.     I    strongly 

lese  subji'cts,  study 

11  to  compar"  and 
an  ycu  gain  some 


III.l 


THE  CATHEDRAL   GROUP 


Ci 


idea  of  Ghiberti's  life-work.    Linger  long  over  such  exquisite 
groups  as  Abraham  and  the  Angels,  or  Esau  and  Isaac. 
Now,  enter  the  Baptistery. 

The    interior,    with  its   beautiful    Tuscan-Romanesque 
arcade,  on  the  second  story,  resembling  a  triforium,  is  much 
handsomer  and  larger  than  the  plain  exterior  would  lead 
one  to  suppose.     (Outside,  the  Cathedral  dwarfs  it.)     Parts 
of  it  are  adorned  vvith  admirable  early  mosaics.    The  rest 
has  fine  inlaid  marble-work.     It  would  be  impossible  to 
describe  all  these  in  full  .  they  can  only  be  adequately  seen 
on  a  very  briglit   morning,    when  it  is  practicable  to 
identify  most  of  the  figures  by  the  aid  of  their  inscriptions. 
The  general  architecture   will  remind  you  of  Pisa.    The 
iircli  of  tlie  tribune,  which  occupies  the  place  of  an  apse, 
perhaps  belongs  in  part  to  an  early  Roman  building,— local 
tradition  says,  a  temple  of  Mars.     Notice  that  the  reliefs 
outside  the  tribune  bear  reference  to  the   History  of  St. 
John  Baptist,  as  does  almost  everything  else  in  this  build- 
ing.   L,  the  Profession  of  the  boy  Baptist ;  R,  his  Preaching 
by  the  Jordan,  with  the  approach  of  Christ ;  further  R,  he 
baptizes  the  Saviour. 

Mount  the  steps  to  the  higii  altar,  an  ugly  modern  work, 
replacing  the  beautiful  medieval  silver  shrine,  now  in  the 
Opera  del  Duomo.  It  is  supported  by  the  eagles  of  St. 
John,  which  you  will  find  everywhere  on  this  edifice  (as 
elsewhere  in  Florence),  and  surmounted  by  a  bad  rococo 
group  of  John  the  Baptist  and  angels.  The  relief  beneath 
the  altar  represents  the  Daughter  of  Herodias  receiving  the 
head  of  the  Baptist. 

The  fine  early  mosaic  of  the  apse  (1225)  should  be 
closely  observed  on  a  bright  morning.  It  represents,  R, 
the  Madonna  and  Child  ;  L,  Si.  John  Baptist  Enthroned ; 
centre,  the  Lamb  with  adoring  patriarchs  and  prophets. 
Note  that  the  figure  of  the  Lamb  is  specially  appropriate 
,  a  church  of  the  Baptist,  who  first  uses  the  word  "  Beiold 
the  la  /li  of  God,'  always  placed  on  a  scroll  round  the  reed 
cross  he  carries.  If  you  will  search  for  yourself,  you  will 
find  that  the  whole  building  is  full  of  similar  baptismal 
symbolism. 


-  '•i''ytit-'55gs'#S# .: 


6a 


FLORENCE 


Immediately  to  the  L  of  the  enclosure  of  the  trihune  i« 
the  Font  (of  1371)1  the  only  one  in  Florence,  all  children 
bom  in  the  city  being  baptized  here.  (The  ceremony 
takes  place  on  Sunday  afternoons,  and  is  worth  a  visit.) 
The  Font  is  adorned  with  good  early  reliefs  of  the  Life  of 
the  Baptist,  whose  statue  standi  in  a  niche  behind  it. 

Now,  go  round  the  church  from  this  point  to  the  i., 
noticing  the  beautiful  early  inlaid  pavement,  much  defaced 
by  time,  and  representmg,  opposite  the  High  Altar,  the 
Signs  of  the  Zodiac. 

Over  the  first  altar,  th^t  of  St.  Mary  Magdalen  (who  ia 
often  associated  with  St.  John  Baptist  as  the  female 
penitent  in  the  desert  of  Provence),  stands  her  statue  by 
Donatello.  She  is  represented  nude  and  haggard,  clad 
entirely  with  her  own  long  hair.  These  lean  and  hungry 
penitent  Magdalens  will  be  more  fully  explained,  with 
reference  to  their  legend,  when  we  visit  the  Belle  Arti. 
Compare  there  the  very  similar  picture,  attributed  to 
Andrea  del  Castagno  or  Filippino  Lippi,  and  balanced  by  a 
Baptist.    Notice  the  inscriptions  and  ea^ie. 

Just  to  the  R  of  the  High  Altar  is  the  beautiful  tomb  of 
John  XXIII,  "  formerly  Pope  "—an  anti-Pope  deposed  by 
the  Council  of  Constance.  It  was  erected  by  his  friend 
and  adherent,  Cosmo  de'  Medici,  who  declined  to  alter  the 
inscription  to  please  the  successful  rival.  The  recumbent 
figure  of  the  deceased  in  gill  bronze  on  the  tomb  is  by 
Donatello,  but  still  not  beautiful.  Beneath  are  Faith,  Hope, 
and  Charity,  the  first  by  Michelozzo.  The  Madonna  and 
Child  above  are  very  pleasing. 

The  dome  has  early  mosaics  of  Our  Lord  in  the  centre, 
suriounded  by  adoring  Angels.  The  other  subjects  (best 
identified  by  photograph  beforehand,  and  then  studied  on 
the  spot)  are  the  Last  Judgment,  Life  of  the  Baptist,  Life 
of  Christ,  StP-  y  of  Joseph,  Creation,  and  Flood. 

From  the  old,  proceed  to  the  new  Cathedral  contrast 
its  Gothic  architecture  with  the  Tu^can-Romancsque  of 
the  Baptistery. 


-■  ftSissis^iJSasS: 


fill. 

e  of  the  tribune  i« 
irence,  all  children 
(The  ceremony 
1  is  worth  a  visit.) 
!liefs  of  the  Life  of 
le  behind  it. 
is  point  to  the  L, 
lent,  much  defaced 
e  High  Altar,  the 

Magdalen  (who  ia 
ist  as  the  female 
inds  her  statue  by 
md  haggard,  clad 
:  lean  and  hungry 
ly  explained,  with 
sit  the  Belle  Arti. 
ure,    attributed    to 

and  balanced  by  a 
le. 

beautiful  tomb  of 
i-Pope  deposed  by 
cted  by  his  friend 
eclined  to  alter  the 
1.  The  recumbent 
n  the  tomb  is  by 
th  are  Faith,  Hope, 
Ihe  Madonna  and 

Lord  in  the  centre, 
ither  subjects  (best 
id  then  studied  on 
}f  the  Baptist,  Life 
[  Flood. 

athedrah  contrast 
an-Romancsque  uf 


iii.l 


THE  CATHEDRAL   CROUP 


63 


The  modern  facade,  by  Ue  Fabris,  is  a  fine  though 
florid  piece  of  recent  Italian  Gothic  workmanship,  and  is 
full  of  symbolism,  both  of  the  Blessed  Virgin  and  of  the 
Florentine  Saints  (Reparata,  Zanobi,  etc.)  especially  com- 
memorated in  this  cathedral.  To  describe  it  in  full, 
however,  would  be  alien  from  the  historical  character  of 
these  Guide-books.  I  will  therefore  only  call  attention  to 
the  (patroness)  Madonna  and  Child,  enthroned,  in  the  great 
niche  under  the  Rose  Window  (Sarrocchi).  The  saints  to 
K  and  I.  have  their  names  inscribed,  and  the  words  can  be 
read  by  the  aid  of  an  opera-glass.  Also,  note  the  Assump- 
tion of  the  Madonna  in  a  inandorla,  in  the  pediment,  just 
beneath,  and  the  figures  of  Santa  Reparata  and  San  Zanobi 
on  either  side  of  the  doorway.  Those  who  desire  to  follow 
the  subject  further  can  do  so  by  the  aid  of  the  large  designs 
in  the  Museum  of  the  Opera  del  Duomo.  I  cannot  un- 
reservedly shaiB  in  the  frequent  English  utter  condemna- 
tion of  this  florid  and  somewhat  gaudy  work,  which,  in 
spite  of  much  over-elaboration  and  a  few  gewgaws,  seems 
to  me  not  wholly  unworthy  of  the  place  it  occupies. 

Proceed  round  to  the  South  Side  to  view  the  earlier 
part  of  the  building.    Under  the  first  window,  interesting 
old  inscription,  which  should  be  read  by  those  who  know 
Latin.     Just  beyond  it,  charmingly  infantile  medieval  re- 
lief of  the  Annunciation,  where  the  division  between   the 
Madonna  and  the  angel  is  even  more  marked  than  usual. 
Stand  by  the  doorway  of  the  Campanile,  to  ex.imine  the 
general  effect  of  the  South  Side.     Observe  the  exquisite 
double   windows,  with   twisted   columns,  and  the  infinite 
variety  of  the  inlaid  marble-woik.    (I  cannot  describe  all 
this,  but  go  through  it  slowly.)    Over  the  first  door,  said 
to  be  by  Giotto,  good  statue  of  the  Madonna  and  Child,  of 
the  14th  century.    Above  it,  Christ  blessing.     Higher  still. 
Annunciation,  in  two  separate  niches.     Do  not  omit  to  note 
the  architecture  of  all  these   niches,  and  of  the  columns 
which  support  them.    Observe  that  as  this  is  a  church  of 
Our  Lady,  almost  all  the  decorations  have  reference  to  her 
history. 


^{.sffia^sgr 


64 


FLORENCE 


[m. 


Second  South  Door,  called  the  Canons'  Entrance,  by 
Lorcnio  di  Giovanni  (1397).  In  the  tympanum,  relief  of  the 
Madonna  and  Child,  with  two  adorinff  angels,  very  dainty. 
Above  it,  a  I'ietJl.  Observe  the  decorative  work  and  statues 
on  this  beautiful  doorway,  foreshadowing  the  Renaissance. 
Close  by,  near  the  door,  is  one  of  the  best  points  of  view  for 
Giotto's  Campanile. 

Here  the  South  Transept,  with  its  round  (or  rather 
obtuse-angled)  apse,  projects  into  the  Piazza.  Stand  on  the 
steps  opposite,  between  thr  statues  of  the  two  principal 
architects,  Arnolfo  and  Urunclleschi  (the  latter  gazing  up  at 
his  great  work),  in  order  to  take  in  the  arrangement  of  this 
Transept,  with  its  cupola,  etc.,  and  the  dome  behind  it,  as  well 
as  the  fine  angular  view  of  the  Campanile.  Do  not  hurry  over 
the  exterior  of  the  Cathedral.  Look  at  it  slowly.  It  cost 
many  lives  o  build,  and  is  worth  an  hour  or  two  of  your 
time  to  ex;,  nine. 

Now,  go  round  the  .South  Transept,  and  stand  near  the 
door  of  the  Op'ira  di  Santa  Maria  del  Fiore  to  look  up  at 
the  Dome,  whose  cornice  and  arcade  are  finished  on  this 
side  only.  Elsewhere  arc  seen  the  empty  places  where  a 
similar  arcade  and  cornice  were  to  have  been  carried  round 
it.  Observe  also  the  minor  clustered  cupolas  below  the 
dome.  If  you  will  carefully  note  the  exterior  architecture 
from  this  point  of  view,  it  will  help  you  better  to  understand 
the  interior.  The  portion  facing  you,  which  would  elsewhere 
be  the  choir,  is  here  devoted  to  the  Tribune  of  San 
ZanobI,  the  great  early  bishop  and  patron. 

Pass  hence  round  the  North  Transept  and  proceed  to 
inspect  the  exterior  of  the  N  aisle. 

First  door  by  Giovanni  d'  Ambrogio  :  in  the  tympanum, 
Annunciation  in  mosaic  by  Domenico  and  Davide  Ghirlan- 
dajo,  a  beautiful  Renaissance  work,  a  little  out  of  keeping  with 
the  Gothic  exterior.  Above  It,  a  very  fine  relief  by  Nanni  di 
Banco,  Assumption  of  the  Madonna  in  a  mandorip  idapted 
from,  or  almost  modelled  on,  a  relief  by  Orcagna  at  the 
back  of  the  great  shrine  in  Or  San  Michele :  compare  the 
two  by  means  of  photographs  :   allowing  of  course  for  Re^ 


■*i:^W««»; 


rf*-. 


titl. 

ons'  Entrance,  hy 
laiiuin,  relief  of  the 
ngcls,  very  dainty, 
r  work  and  statues 
:  the  Renaissance. 
i  points  of  view  for 

round  (or  r.ithcr 
:za.  Stand  on  the 
the  two  principal 
latter  gazing'  up  at 
rrangemcnt  of  this 
e  behind  it,  as  well 

Do  not  hurry  over 
it  slowly.  It  cost 
ur  or  two  of  your 

nd  stand  near  the 
iore  to  look  up  at 
e  finished  on  this 
ty  places  where  a 
^een  carried  round 
lupolas  below  the 
terior  architecture 
tier  to  understand 
h  would  elsewhere 
rrlbune  of  San 
1. 
»t  and  proceed  to 

in  the  tympanum, 
i  Davide  Ghirlan- 
)ut  of  keeping  with 

relief  by  Nanni  di 
nandorlp  adapted 
y  Orcagna  at  the 
liele :  compare  the 
'  of  course  for  Re- 


^Asafg-W 


m.] 


THE  CATHEDRAL   GROUP 


65 


naissance  proi{re«i).  Our  Lady  is  represented  as  just  about 
to  drop  the  Sacra  Cintola  or  sacred  girdle  to  St.  Thomai, 
who  kneels,  a  beautiful  youthful  figure,  to  the  I.  below.  [Thii 
is  a  subject  which  we  have  seen  already  in  fresco  at  Santa 
Croce,  and  which  will  meet  us  frequently  elsewhere  in 
Florence  (as,  for  example,  in  the  Orcagna  at  Or  San 
Michele),  from  the  local  importance  of  the  Holy  Girdle  pre- 
served at  Trato.]  Donatello  is  said  to  have  completed  this 
lovely  work.  The  figures  are  almost  identical  with  Orcagna's, 
but  the  tree  and  bear  to  the  R  here  replace  two  trees  at 
Or  San  Michele.  The  statuettes  on  the  pillars  close  by  are 
by  nonatcllo. 

The  aecond  N  door,  attributed  to  Piero  di  Giovanni 
Tedesco,  and  Niccol6  d'Are/.zo,  has  pillars  resting  on  a  lion 
to  the  R,  and  a  lioness  with  her  cubs  to  the  u  In  the  tym- 
panum, the  Madonna  and  Child,  again,  with  adoring  angels. 
Stand  on  the  pavement  opposite  to  take  in  the  effect  of  this 
side  of  the  Cathedral.  I  have  only  noted  the  chief  points. 
Hut  every  saint  in  niche  or  on  pinnacle  can  be  identified  by 
some  sign,  if  you  take  the  trouble  to  do  so. 

Now,  enter  the  Interior,  which  is  vast  and  very  bare. 
Stand  first  by  the  central  door,  to  observe  the  huge  unim- 
pressive Nave,  supported  on  either  side  by  only  four  great 
arches,  whose  immense  size  and  sparsity  seem  to  dwarf  the 
entire  building.    (Rows  of  columns  like  Pisa  arc  much  more 
effective.)    Then,  before  you  begin  to  examine  in  any  detail, 
walk  straight  up  the  Nave,  to  its  junction  with  the  Transepts, 
in  order  to  understand  the  nature  of  the  architectural  ar- 
rangement.    The  octagonal  space,  railed  off  with  a  low 
marble  screen  beneath  the  dome,  is  here,  by  a  very  excep- 
tional plan,  the  Choir.    To  R  and  L  extend  the  Apses  of 
the  Transepts,  looking  incredibly  small  from  within  when 
compared  with  the  vastness  of  their  exterior.    Note  that  all 
three  ends  in  this  direction  have  similar  Apses.    Then,  walk 
round  to  the  back  of  the  choir,  where  what  would  usually 
be  the  chancel  is  known  as  the  Tribuna  dl  San  Zanobl. 
Its  High  Altar  contains  the  head  and  ashes  of  the  sainted 
bishop,  which  are  (or  were)  the  chief  object  of  local  cult  in 


66 


FLORENCE 


[III. 


this  Church.    From  this  point  of  view,  the  gene  al  propor- 
tions of  the  interior  can  best  be  grasped. 

After  thus  gaining  a  general  conception  of  the  whole, 
return  to  the  W  end  of  the  Na/e.  The  objects  in  the  in- 
interior  worth  notice  are  not  numerous.  Over  the  Central 
Door,  Coronation  of  the  Virgin  by  Christ,  with  adoring 
angels,  in  mosaic,  by  Gaddo  Gaddi.  To  R  and  L,  over  the 
lateral  doors,  fresco-monuments  in  grisaille  of  Florentine 
generals,  that  to  the  R  being  the  monument  of  the  English 
partisan  leader  Sir  John  Hawkwood  (Giovanni  Acuto)  who 
served  the  Republic  as  a  Captain  of  Free  Companies  for 
many  years  :  that  to  the  L  is  Niccolb  Manucci  di  Tolentino. 
The  Rose  W  -dow  contains  an  Assumption  of  the  Madonna. 
Proceed  up  the  R  aisle.  Monument  of  Filippo  Brunel- 
leschi,  who  designed  the  Dome,  v;ith  his  bust  by  his  pupil, 
Buggiano.  Monument  (not  contemporary)  of  Giotto,  by 
Benedetto  da  Majano.  L,  holy  water  basin,  with  angel 
pouring,  reminiscent  of  the  school  of  Pisa.  Tabernacle, 
with  portrait  of  Sanf  Antonino,  Archbishop  of  Florence,  by 
Morandi.  Monument  of  Marsilio  Ficino,  who  did  much  to 
introduce  the  study  of  Greek  into  Renriissance  Florence. 

South  Transept :  R  and  L,  statues  of  St.  Philip  and  St. 
James  by  Giovanni  dell'  Opera— part  of  a  group  of  eight, 
ringing  round  f'.ie  octagon. 

Over  the  doors,  R  and  L,  in  the  octagon,  beyond  the 
Transepts,  two  Delb.  Robbia  reliefs,  said  ♦o  be  the  earliest 
works  of  Luca.  That  to  the  R  represents  the  A:  cension, 
that  to  the  L,  the  Resurrection.  Both  are  admirable. 
Behind  the  High  Altar,  a  Fiet^,  the  last  unfinished  work  of 
Micha*"'  Angelo. 

In  th.-  Tribune  of  Sun  Zanoioi  (occupying  the  place 
usually  assigned  to  the  Choir)  to  R  and  L  statues  of  St.  John 
(by  Benedetto  da  Rovezzano)  and  St.  Peter  (by  the  futile 
Bacr.io  Bandintlli).  Under  tV.e  High  Altar  of  the  Tribune, 
the  **Arca  or  shrine  of  San  Zanobi,  containing  his  head  and 
ashes.  The  exquisite  relief  in  front  of  the  altar,  by  Lorenzo 
Ghiberti,  is  in  the  same  sty'e  as  his  later  gates.  It  repre- 
sents San  Zanobi  restoring  to  life  the  son  of  the  Gallic  lady. 


MAWmMiW:, 


:  [HI. 

cw,  the  gencwil  proper- 

iped. 

nception  of  the  whole, 

The  objects  in  the  in- 

ous.    Over  the  Central 

y  Christ,  with  adoring 

To  R  and  L,  over  the 

grisaille  of  Florentine 
jnument  of  the  English 
I  (Giovanni  Acuto)  who 
of  Free  Companies  for 
b  Manucci  di  Tolentino. 
tnption  of  the  Madonna, 
nent  of  Filippo  Brunel- 
h  his  bust  by  his  pupil, 
nporary)  of  Giotto,  by 
■ater  basin,  with  angel 
1  of  Pisa.  Tabernacle, 
hbishop  of  FlorejiCe,  by 
'icino,  who  did  much  to 
jnriissance  Florence. 
:s  of  St.  Philip  and  St. 
irt  of  a  group  of  eight, 

e  octagon,  beyond  the 
,  said  *o  be  the  earliest 
presents  the  A:  cension. 
Both  are  admirable. 
1  last  unfinished  work  of 

»i  (occupying  the  place 
ind  L  statues  of  St.  John 
St.  Peter  (by  the  futile 
gh  Altar  of  the  Tribune, 
containing  his  head  and 
:  of  the  altar,  by  Lorenzo 
is  later  gates.  It  repre- 
he  son  of  the  Gallic  lady. 


in.] 


THE  CATHEDRAL   GROU.-' 


67 


'tMmmmmi^ 


The  child  is  seen  doubly  represented  (as  often  in  early 
works  of  the  sort)  first  as  dead,  and  then  as  restored  to  life 
again.  The  groups  of  bystanders  are  exquisitely  rendered. 
When  there  is  sufficient  light  to  observe  this  relief,  it  should 
be  closely  studied  ;  but  it  i3  usually  very  d?,rk  and  observed 
with  difficulty.  (See  the  legend  in  Mrs.  Jameson.  Many 
other  representations  of  this  the  most  famous  miracle  of 
San  Zanobi  are  to  be  found  in  Florence.)  There  is  a  good 
plaster  cast  of  the  Area  in  the  Opera  del  Duomo  :  see  it 
there,  examine  the  reliefs,  and  then  return  to  view  the 
original. 

From  the  steps  behind  the  altar  the  best  view  is  obtained 
of  the  (feeble)  Last  Supper  by  Giovanni  Balducci. 

N  Transept,  to  the  R  and  l  stand  statues  of  St.  Andrew 
(by  Ferrucci)  and  St.  Thomas  (by  Rossi).  The  windows  are 
by  Lorenzo  Ghiberti. 

R  and  L  of  the  Nave,  in  front  of  the  choir,  statues  of  St. 
Matthew  (by  Rossi)  and  St.  James  the  Greater,  by  Jacopo 
Sansovino  :  all  eight  of  these  octagon  statues  are  poor  and 
uninteresting. 

N  Aisle,  ne?,r  the  first  door,  Dante  explaining  the  Divina 
Commedia,  which  he  holds  in  his  hands  ;  painted  on  wood 
by  Dr  nenico  di  Michelino,  in  1465,  by  order  of  the  Repub- 
lic. To  the  R.  the  town  of  Florence,  with  its  walls,  its 
Cathedral  dome,  tower  of  the  Palazzo  Vecchio,  etc. ;  in  the 
background,  the  spiral  mount  of  Purgatory  :  on  its  summit, 
the  Tree  of  Life :  above,  in  the  air,  the  Celestial  City  or 
Paradise,  represented  by  various  vague  circles.  To  the  L 
the  mouth  of  thf>  Interno.  Above,  as  part  of  Heaven,  are 
seen  the  heavenly  bodies.  On  a  bright  day  (when  this 
picture  is  seen  to  advantage  about  10  a.m.)  students  of  Dante 
will  find  in  it  many  familiar  elements  of  the  great  poem. 
Beyond  the  second  door,  modern  monument  of  Amolfo. 
Near  it,  statue  of  the  statesman  and  humanist,  Poggio 
Bracciolini,  by  Donatello.  The  first  pillar  has  a  Ime 
picture  of  San  Zanobi  between  San  Crescenzio  and  Sant, 
F.ugenio,  by  Orcagna. 


I 


^ 


Ulmimim^ii^miltm 


68 


FLORENCE 


III. 


Proceed  one  day  in  this  connection  to  visit  the  Gpera  del 
Di?omo.  whose  Museum  is  housed  in  c  courtyard  just 
opposite  the  Tribune  of  San  Zanobi.  Note  the  Roman 
remains  in  the  courtyard  ;  the  quaint  Hons ;  and  the  Lamb 
of  St.  John,  with  Florentine  UHes,  over  the  doorway. 
(Lambs,  eagles,  and  lilies  pervade  Florence.)  The  lamb 
and  flag  is  the  arms  of  the  wool-weavers,  an  important  guild. 

The  Museum  contains  a  few  fragments  from  the  old 
fabric  of  the  Cathedral,  and  numerous  pieces  of  many 
demolished  works  within  it,  as  well  as  pictures  from  the 
Duomo  or  Baptistery,  which  (to  say  the  truth)  can  be 
studied  here  to  much  greater  advantage  than  in  the  gloom 
of  their  original  situf.tion.  If  you  want  to  study  closely,  buy 
the  official  catalogue.  Otherwise,  use  the  hand-cards  pio- 
vided  in  each  room.  Among  the  chief  objects  within,  too 
numerous  to  mention  in  detail,  are 

Oround  floor,  Roman  fragments ;  and  (40)  a  fine 
Madonna  of  the  School  of  the  Pisani,  probably  by  Giovanni 
Pisano. 

Stairs,  Reliefs  of  Saints  and  Prophets,  by  Baccio  Bandi- 
nelli  and  Giovanni  de)l'  Opera. 

First  floor,  the  beautiful  **Singlng;-Loft«  {Can/one), 
with  groups  of  singing  and  dancing  children,  by  Donatello 
and  Luca  della  Robbia,  once  in  the  Cathedral.  Examine 
these  in  detail. 

The  one  on  the  wall  nearest  the  door  by  which  you  enter, 
is  by  Luca  della  Robbia,  and  is  his  loveliest  work.  No- 
where else  has  childhood  been  so  sympathetically  and 
naturally  depicted.  Luca  always  succeeds  best  with 
children :  he  must  have  loved  them.  Obseive  the  exqui- 
site brackets  supporting  the  Loft,  which  compare  most 
favourably  with  Donatello's  more  ornate  examples  opposite. 
All  the  Renaissance  decoration  on  this  Loft  is  lovely.  The 
four  most  visible  reliefs  illustrate  the  verse  in  the  Psalm, 
"Praise  the  Lord  (i)  with  the  sound  of  trumpets,  (2)  with 
psalteries,  (3)  with  harps,  (4)  with  timbrels  ";  the  words  of 
the  I'salm  being  inscribed  beneath  them.  Those  below 
illustrate  the  remainder  of  the  text  :  "  With  dancing,  and 


?-ifl?.K-:;Liv!-:  -S'S'-*;. 


«te«ssi<i*f-fti^«a*a3S^ 


in. 

sit  the  Gpera  del 

z.  courtyard  just 
Jote  the  Roman 
3 ;  and  the  Lamb 
jr  the  doorway. 
;nce.)  The  lamb 
n  important  guild. 
Its  from  the  old 
pieces  of  many 
jictures  from  the 
ie  truth)  can  be 
han  in  the  gloom 
study  closely,  buy 
;  hand-cards  pio- 
ibjects  within,  too 

ind  (40)  a  fine 
lably  by  Giovanni 

by  Baccio  Bandi- 

■  Loftfi  {Cantorie), 
ren,  by  Donatello 
hedral.     Examine 

'  which  you  enter, 
eliest  work.  No- 
npathetically  and 
ceeds  best  with 
bseive  the  exqui- 
ch  compare  most 
;xamples  opposite, 
jft  is  lovely.  The 
irse  in  the  Psalm, 
trumpets,  (2)  with 
Is ";  the  words  of 
!m.  Those  below 
bVith  dancing,  and 


in.] 


THE   CATHEDRAL   GROUP 


69 


K-m 


with  chords  and  the  organ,  and  with  cymbalb."  The  figures, 
however,  though  intended  to  be  seen  at  this  height,  arr 
not  altogether  well  designed  fo-  Uip  -  pose  :  they  are 
best  examined  with  an  opera-glass,  a:,  vhe  two  detached 
panels  on  the  wall  to  the  L  are  more  ehective  as  now  hung 
than  those  still  left  in  the  original  framework. 

Donatello's  Loft,  on  the  further  wall,  is  also  a  beautiful 
work  ;  yet  here,  if  one  dare  say  it,  even  Donatello  suffers  by 
comparison  with  Luca.  His  work  is  not,  like  the  other,  all 
of  pure  marble  :  it  has  a  sort  of  inlaid  mosaic  background, 
while  pillars,  relieved  with  mosaic,  unpleasantly  interrupt  its 
action— features  which  to  me,  in  spite  of  the  great  intrinsic 
beauty  of  the  decoration,  somewhat  mar  the  total  harmony 
of  the  structure.  Donatello's  faces,  on  the  other  hand, 
though  less  sweet  when  closely  examined,  are  better 
designed  to  be  seen  at  this  height  than  Luca's  ;  but  the 
separate  figures,  exquisite  as  they  are,  seem  a  trifle  boister- 
ous, and  do  not  quite  attain  the  same  cl.ildish  grace  and 
ease  of  movement  as  his  friendly  rival's.  Donatello's 
children  are  winged,  Luca's  are  human.  Sit  long  before 
each,  and  compare  them  attentively  :  there  is  nothing  more 
lovely  in  their  kind  in  Florence. 

The  exquisite  **High  Altar  in  silver  (97)  comes  from  the 
Baptistery  ;  it  represents,  in  the  centre,  St.  John  Baptist,  the 
patron  saint,  and  on  either  side,  as  well  as  at  the  end.  Scenes 
from  his  Life,  resembling  in  subjects  those  on  the  gates  of 
the  Baptistery. 

This  noble  work  is  of  different  dates  :  the  main  front  is  of 
1366-1402,  while  the  statue  of  the  Baptist,  more  Renaissance 
in  tone,  is  by  Michelozzo,  145 1.  The  side-reliefs  are  still 
later :  Birth  of  the  Baptist,  by  Antonio  PoUaiolo  ;  his  Death, 
by  Verrocchio,  about  1477-80.  Compare  the  dainty  little 
scene  of  the  boy  Baptist  starting  for  the  desert  with  that  on 
Andrea  Pisano's  door  at  the  Baptistery. 

Notice  also  particularly,  close  by,  100,  loi,  the  charming 
**groups  of  Singing  Boys  by  Luca  della  Robbia,  not  in- 
cluded in  the  Cantoria  (where  they  are  replaced  by  casts), 
but  the  finest  of  the  series. 


If 


sit*)«a,'.i^ij;;tw.i*s'?as« 


70 


FLORENCE 


[in. 


Among  the  pictures,  some  of  the  most  typically  interest- 
ing are  :  80,  Santa  Keparata,  holding  the  red  and  white 
flag,  with  Scenes  from  her  Life  and  Martyrdom  (many  times 
attempted  in  vain),  flanked  by  the  other  two  patron  saints, 
St.  John  Baptist  and  San  Zanobi,  much  smaller.  The  same 
local  trio  are  also  excellently  seen  in  79,  close  by.  I  advise 
an  attentive  study  of  all  these  works,  which  give  you  types 
of  the  Florentine  patrons,  followed  by  a  second  study,  after 
you  have  visited  the  Belle  Arti,  when  their  meaning  and 
sequence  will  become  much  clearer  to  you.  I  do  not  pro- 
pose to  treat  them  here  at  full ;  but  if  you  look  round  for 
yourself  you  will  light  upon  many  such  interesting  local 
traces  as  73,  the  Decollation  of  St.  John  Baptist,  with  a 
singular  halo  ;  74,  a  mosaic  of  San  Zanobi  (1505),  with  the 
Florentine  lily  on  his  morse  or  buckle,  and  the  city  in  the 
background ;  77,  Our  Lady,  a  fine  relief,  by  Agostino  di 
Duccio ;  79,  St.  John,  with  the  two  other  patron  saints  (Santa 
Reparata  holding  the  Florentine  lily) :  no,  San  Zanobi,  with 
an  Annunciation  ;  108,  the  same,  enthroned  between  two 
deacons,  a  good  intarsia  by  Giuliano  da  Majano  ;  107,  the 
Baptist  in  the  Desert,  by  Giovanni  della  Robbia ;  89,  the 
Madonna,  with  St.  Catherine  and  San  Zanobi  ;  and  so  forth. 
Compare  all  the  Santa  Reparata  and  San  Zanobi  figures. 
In  109,  the  bishop  is  not  San  Zanobi,  but  St.  Blaise,  the 
patron  of  the  woollen  trade.  Among  other  interesting 
objects,  not  quite  so  local,  observe  1 10,  the  Creation  of  Eve, 
a  frequent  subject,  always  so  rendered,  and  to  be  seen  also 
on  the  gates  of  the  Baptistery ;  and  90,  a  most  singub- 
martyrdom  of  St.  Sebastian,  identical  in  motive  with  the 
PoUaiolo  in  the  National  Gallery,  and  with  a  picture  in  the 
Uffizi :  these  represent  a  variant  of  the  legend. 

Much  of  the  early  sculpture  is  also  most  beautiful ; 
perhaps  the  loveliest  of  all  is  95,  an  angel  by  Niccol6 
d'Arezzo,  a  work  almost  in  the  style  of  the  school  of  Pisa, 
balanced  by  96,  a  most  unusual-faced  Madonna,  forming 
between  them  an  Annunciation,  and  both  bearing  distinct 
traces  of  classical  influence.  Note  also  92  and  93,  beautiful 
statuettes  of  Christ  and  Santa  Reparata,  by  Andrea  Pisano. 


s>-~  .•'•rM'-,'V«^l¥«,;«5i»; 


[.II. 

ypicallv  interest- 
:  red  and  white 
iom  (many  times 
vo  patron  saints, 
aller.  The  same 
ose  by.  I  advise 
\i  give  you  types 
cond  study,  after 
eir  meaning  and 
1.  I  do  not  pro- 
)u  look  round  for 
interesting  local 
I  Baptist,  with  a 
li  (1505),  with  the 
d  the  city  in  the 
,  by  Agostino  di 
tron  saints  (Santa 
,  San  Zanobi,  with 
ned  between  two 
Majano  ;  107,  the 
,  Robbia  ;  89,  the 
>bi  ;  and  so  forth. 
n  Zanobi  figures, 
ut  St.  Blaise,  the 
other  interesting 
:  Creation  of  Eve, 
1  to  be  seen  also 
a  most  singula' 
motive  with  the 
1  a  picture  in  the 
end. 

I  most  beautiful ; 
ngel  by  Niccol6 
le  school  of  Pisa, 
dadonna,  forming 
h  bearing  distinct 
!  and  93,  beautiful 
)y  Andrea  Pisano. 


III.] 


THE  CATHEDRAL   GROUP 


71 


Under  Donatello's  singing  loft,  quaint  Byzantine  Gospel 
stories,  in  mosaic  and  enamel,  giving  early  forms  of  scenes  : 
and  an  embroidered  Life  of  the  Baptist,  very  u;teresting.  In 
the  first  .series  note  especially  Chris*  in  Hades  (2nd  tier, 
l)  and  Christ  receiving  the  soul  of  Our  Lady  (3rd  tier,  R; 
for  future  comparison.  I  recommend  to  all  who  really  wish 
to  understand  the  evolution  of  art  a  close  examination  of 
thesf;  Byzantine  compositions. 

The  Second  Room  contains  the  designs  for  the  fofode  of 
the  Cathedral  by  De  Fabris  and  others.  Those  who  desire 
to  study  the  symbolism  of  the  facade  can  do  so  here  to  the 
greatest  advantage.  The  sequence  of  the  various  designs 
affords  a  perfect  history  of  architectural  art  in  Tuscany. 
Notice  also  the  cast  of  the  Area  of  San  Zanobi  in  the 
centre. 


For  the  Campanile,  designed  by  Giotto,  and  carried  on 
after  his  death  by  Andrea  Pisano  and  Francesco  Talenti,  I 
must  refer  you  to  Baedeker.  It  is  one  of  the  loveliest 
architectural  works  ever  planned :  but  it  requires  rather 
long  inspection  than  description  or  explanation.  All  that 
is  needed  for  its  study  (besides  time)  is  your  Baedeker  and 
an  opera-glass.  The  sculpture  of  the  lower  story,  on  the 
other  hand,  though  important  for  the  study  of  the  ev  ilutiou 
of  that  art  in  Tuscany,  you  had  better  defer  till  a/ier  you 
have  visited  the  Bargello  and  Or  San  Michele.  Its  mean- 
ing and  connection  will  then  become  clearer  to  you.  You 
will  understand  Giotto's  relation  (as  sculptor)  to  Andrea 
Pisano  ;  and  Donatello's  to  Orcagna ;  besides  being  in  a 
better  position  to  trace  Donatello's  own  personal  develop- 
ment. 


rj^^liJl^Y::^i^'^'^--'^'!^l^i'f$^y^^'f^.V4i^i^f^O*<^^'^!^-^^'^^^^^^ 


IV 

TME  SECOND  DOMINICAN  QUARTER: 
SAN    MARCO 

n't  T  rHATEVER  else  you  see  or  leave  unseen  in  Flor- 
L  VV     ence  you  cannot  afford  to  ignore  the  Monastery 
of  San  Marco.     This  famous  convent,  a  perfect  museum  of 
the  works  of  Fra  Angelico,  the  saintliest  and  sweetest  of  the 
early  isth  cent,  painters,  was  originally  built  for  Silvestrine 
monks,  but  was  transferred  by  Cosmo  de'  Medici  to  the 
Dominicans.     In  1436,  the  existing  buildings  were  erected 
by  Michelozzo,  whose  handicraft  we  have  already  seen  in 
the  chapel  of  the  Medici  at  Santa  Croce.  Shortly  afterwards, 
Fra  Angelico  of  Fiesole,  a  Dominican  monk  and  inmate  of 
this  monastery,  decorated  the  cells,  cloisters,  and  chapter- 
house with  famous  frescoes,  which  represent  the  most  ex- 
quisite work  of  the  later  Giottesque  period,  as  yet  wholly 
untouched  by  the  Renaissance  spirit.    Fra  Angelico  is  above 
all  things  an  ecstatic  and  mystical  religious  painter.     His 
panel-works,  it  is  true,  may  be  seen  in  the  north,  but  his  in- 
finitely greater  skill  as  a  fresco-painter  can  only  be  ade- 
quately estimated  at  San  Marco,  -vhere  he  was  painting  for 
his  own  brethren,  and  for  the  glorification  of  the  Dominican 
order.    Even  his  exquisite  and  saintly  work  in  the  Cappella 
Niccolina  at  the  Vatican  fails  to  attain  the  same  spiritual 
level  as  his  delicate  imaginings  on  the  cells  of  his  own  monas- 
tery.  The  influence  of  Popes  and  Cardinals  seems  to  have 
had  a  chilling  effect  upon  his  humble  and  devout  spirit.     It 
spoiled  Raphael :  it  merely  damped  the  saintly  Dominican. 

At  the  end  of  the  15th  cent,  San  Marco  was  also  the 
home  of  the  great  prior  and  preacher,  Girolamo  Savonarola, 


w 


'^S!SM-'f£^i>!r-!i''Mi?i:liMiS^&^0. 


WK: 


m 


QUARTER: 


e  unseen  in  Flor- 
t  the  Monastery 

lerfect  museum  of 
nd  sweetest  of  the 
lilt  for  Silvestrine 
de'  Medici  to  the 
ings  were  erected 
e  already  seen  in 
shortly  afterwards, 
mk  and  inmate  of 
ters,  and  chapter- 
isent  the  most  ex- 
iod,  as  yet  wholly 
I  Angelico  is  above 
ious  painter.  His 
!  north,  but  his  in- 
can  only  be  ade- 
le  was  painting  for 
of  the  Dominican 
)rk  in  the  Cappella 
the  same  spiritual 
>  of  his  own  monas- 
lals  seems  to  have 
1  devout  spirit.  It 
lintly  Dominican, 
[arco  was  also  the 
rolamo  Savonarola, 


iV.]     THE   SECOND   DOMINICAN   QUARTER      73 

the  fiery  reformer  who  was  burnt  at  the  stake  in  1498.  His 
cells  and  many  memorials  of  him  still  exist  at  San  Marco. 
Fra  Bartoiommeo,  also  a  monk  at  this  monastery,  was  deeply 
influenced  by  Savonarola  ;  so  also  were  Botticelli  and  many 
other  contemporary  painters.  Their  work  is  full  of  the 
religious  revival  he  inaugurated.  Read  up  the  whole  of  this 
period  in  Villari's  Savonarola,  at  your  leisure  in  the  even- 
ings. 

The  convent  was  secularised  after  the  unification  of  Italy, 
and  is  now  preserved  as  a  public  museum.  Admission  daily, 
I  lira  :  free  on  Sundays. 

Remember,  then,  these  things  about  San  Marco  :  (i)  It 
is  a  Dominican  monastery,  and  everything  about  it  has 
reference  to  the  glory,  or  the  doctrine  and  discipline  of  the 
Dominicans.  In  this  respect  it  may  be  regarded  as  a  later 
and  more  spiritual  edition  of  the  Spanish  Chapel.  But 
simple  piety  is  its  note,  rather  than  dogmatic  theology.  (2) 
It  was  founded  as  a  Dominican  house  by  the  bounty  of  the 
Medici,  whose  patron  saints  (Cosmo,  Damian,  Lawrence,) 
reappear  over  and  over  again  in  many  parts  of  it.  (3)  It 
was,  in  the  early  15th  cent.,  the  home  of  Fra  Angelico, 
and  of  the  holy  Archbishop  St.  Antonine,  the  later  saint 
of  Florence.  (4)  It  was,  later  still,  the  home  of  Savonarola 
and  of  Fra  Bartoiommeo,  many  memorials  of  whom  exist 
within  it. 

But,  more  than  all  else,  expect  in  San  Marco  the  Qlorifl- 
catioii  of  St.  Dominic  and  Domlnicanism.] 

Go  past  the  Cathedral,  and  take  the  Via  Cavour  to  the 
left,  passing  (l)  the  Riccardi  (Medici)  Palace,  the  original 
home  of  the  Medici  family  :  notice  its  proximity  to  the 
Medici  monastery.  You  will  soon  arrive  at  the  Piazza  ot 
San  Marco.  In  front  of  you  is  the  Church,  which  omit  for 
the  present.  The  door  to  the  right  of  it  gives  access  to  the 
monastery. 

The  exterior  is  unattractive.  The  outer  cloister,  which 
we  first  enter,  is  surrounded  by  a  fine  colonnade  or  loggia 
(Michelozzo),  and  encloses  a  pretty  little  neglected  garden. 


|Si3^5^'?^'''*-^5aEi««!Kfe*i»»aias«4«!«ffii!j^ 


74 


FLORENCE 


l«v. 


T 


The  lunettes  are  fille'l  v'th  i/th  cent,  frescoes  (by  Poccetti 
and  others),  mainly  relating  to  the  life  of  St.  Antonine,  the 
famous  Dominic;  a  Archbishop  of  Florence,  and  prior  of  this 
monastery.  They  are  ufficiently  explained  by  the  inscrip- 
tions b  .  w  th'jm  -ju*  ae  chief  objects  of  real  intcre,;*  •' 
t*  h  CO  i..'  *i;e  'J;  c  "^fr  scoes  by  '  ra  Ange  'co,  all  bear- 
ing ref;. -f. ..  '>  i'in  rhruai  'eristics  of  the  Dominican  Order. 
Facinp  yt<:!  xs  ^  uu  « ti  er  is  the  figure  of  St.  Dominic  embrac- 
ing tht  Crc,  i-^jrciitnt,.  j  the  Devotion  of  the  Dominican 
Order.  The  founder  ';  iv  lay  usually  be  recognised  by  the 
little  red  star  (here  aim^/st  ob  iterated,  but  still  just  traceable) 
over  his  forehead,  immediately  to  the  L  of  it,  over  the 
door  of  the  Sacristy,  St.  Peter  Martyr,  with  his  wounded 
head  and  palm  of  martyrdom,  placing  his  finger  to  his  lips, 
in  order  to  enforce  the  Dominican  rule  of  silence.  This 
fresco  thus  represents  the  Sanctity  of  the  Dominican  Order. 
Notice  here  and  elsewhere  the  Medici  pills  displayed  every- 
where. Midway,  to  the  R,  near  the  entrance  to  the  Chapter- 
House,  (which  pass  for  the  momeni,)  St.  Dominic  with  his 
red  star  and  open  book,  bearing  the  scourge  of  rods,  and 
representing  the  Discipline  of  the  Dominican  Order.  On 
the  end  wall,  over  the  door  of  the  Refectory,  a  Pietk.  At 
the  opposite  end,  over  the  door  of  the  foresteria,  or  rooms 
reserved  for  the  entertainment  of  strangers,**  two  Dominican 
monks  welcome  Christ,  in  the  garb  of  a  pilgrim — "  Inasmuch 
as  ye  have  done  it  unto  the  least  of  these  little  ones  ye  have 
done  it  unto  me."  This  fresco  therjfvre  represents  the  Hospi- 
tality of  the  Dominican  Order.  For  tenderness  and  beauty, 
it  is  unsurpassed  by  any  work  in  this  monastery.  The  next 
lunette  has  one  of  Poccetti's  frescoes,  interesting  as  showing 
Sant.'  Antonino  in  a  procession,  with  a  view  of  the  cathedral  as 
it  then  existed,  giving  the  details  of  Giotto's  unfinishedy^fai&, 
iierwards  demolished.  Conspicuous  among'  the  spectators 
on  the  R  may  be  noted  Savonarola,  in  his  black  and  white 
Dominican  robes,  as  prior  of  this  monastery.  Near  the 
entrance  door,  St.  Thomas  Aquinas  with  his  book,  standing 
for  the  Learning  of  the  Dominican  Order  :  also  by  Fra 
Angelico. 


':i:^rm^^SwM'^^miW3M^^- 


wtm 


■'1L3ESI2 


[IV. 

icoes  (by  Poccetti 
'  St.  Antonine,  the 
e,  and  prior  of  this 
ed  by  the  inscrip- 
of  real  intcrej*  '^ 
Lnge  'CO,  all  bear- 
Dominican  Order. 
.  Dominic  embrac- 
er the  Dominican 

recognised  by  the 
still  just  traceable) 

L  of  it,  over  the 
with  his  wounded 

finger  to  his  lips, 

of  silence.  This 
Dominican  Order, 
s  displayed  every- 
ice  to  the  Chapter- 
Dominic  with  his 
urge  of  rods,  and 
nican  Order.  On 
tory,  a  Pietk.  At 
esteria,  or  rooms 
,**  two  Dominican 
grim — "  Inasmuch 
little  ones  ye  have 
resents  the  Hospi- 
jrness  and  beauty, 
lastery.  The  next 
esting  as  showing 
of  the  cathedral  as 
i  unfinished/«fai&, 
^ng  the  spectators 
is  black  and  white 
istery.  Near  the 
his  book,  standing 
der  :  also  by  Fra 


1 


If  'U,U^aaMnmitk  ri 


IV.]     THE  SECO:.  ''  DOMINICAN   Qr'ARlER      75 

Now  return  to  thr  hapter>Hou«c.  on  the  opposite  side, 
which  contains  the  calleu  Great  Crucifixion, — in  reality 
the  P  loration  of  ;  >;  Cross  by  the  Monastic  Orders,  .-uJ 
mn  T  irti'-;  'arly  by  the  Dominicans  in  th'  Monastery  o» 
San  Marco  in  the  Town  of  Vlorc  .ce.  This  is  one  of  Fra 
Angelico's  noblest  paintings.  Those  who  have  only  seen 
his  small  panels  in  the  north  will  hardly  be  prepared  for  the 
freedom  and  vi.-rour  of  this  splendid  picture.  At  the  foot  of 
the  Cross  stands  a  most  touching  group,  with  the  essential 
figures  of  the  fainting  Madonna  sustained  by  St.  John,  St. 
Mary  Magdalen,  with  her  long  (air  hair,  and  the  ether  Mary. 
These  are  simp 'y  part  of  the  conventional  Calvary.  The 
group  to  the  R,  nowever,  for  whose  sake  the  fresco  was  really 
painted,  represents  the  Founders  of  all  the  various  Monastic 
Orders.  Nearest  the  foot  oi"  the  Cross,  and  in  ardent  adora- 
tion, as  is  right  in  a  Dominican  house,  kneels  St.  Dominic 
himself,  with  his  little  red  star,  a  most  powerful  figure.  Be- 
hind him,  also  kneeling,  is  St.  Jerome,  the  father  of  all 
monks,  and  founder  of  monasticism,  with  his  cardinal's  hat 
on  the  ground  beside  him.  The  two  standing  figures  in  the 
background  represent  St.  Albert  of  Vercelli,  in  green  and 
white,  the  founder  of  the  order  of  the  Carmelites,  habited  as 
bishop  (a  compliment  to  the  great  Florentine  monastery  of 
the  Carmine) :  and  St.  Augustine,  with  his  pen  and  book,  as 
the  founder  of  the  Augustinian  or  Austin  Friars,  and  author 
of  the  DeCivitate  Dei.  (It  was  believed  that  the  Carmelites 
were  originally  founded  by  Elijah,  and  only  "  revived  "  by 
St.  Albert :  hence  his  nearness  to  the  Cross,  and  perhaps 
also  the  attitude  in  which  he  seems  to  be  calling  St.  Jerome's 
attention,  as  if  the  Old  Dispensation  pointed  the  way  to  the 
New.)  Next,  again,  in  brown  Franciscan  robes,  comes  St. 
Francis  with  the  Stigmata,  bearing  his  usual  crucifix.  Note 
how  well  the  difference  is  marked  between  the  intellectual 
St.  Dominic,  the  ascetic  St.  Jerome,  and  the  ecstatic  piety  of 
St.  Francis.  Behind  the  last,  standing,  is  St.  Benedict,  with 
the  scourge,  representing  the  Benedictines  :  in  front  of  whom 
kneels  St.  Bernard  with  his  book.  Next,  standing  and  hold- 
ing a  crutch,  is  St.  Romualdo,  the  founder  of  the  Camaldo- 


76 


FLORENCE 


[IV. 


lese,  in  his  white  robe.  Close  by  kneels  San  Giovanni 
Gualberto,  I'ounder  of  the  Vallombrosans  ;  these  two  being 
imports'  ...onastic  bodies  in  the  neighbourhood  of  Florence, 
tow."  i  whom  such  politeness  was  only  natural.  Last  of 
p' ,  next  the  arch,  the  series  is  completed  by  the  two  most 
uistinguishcd  Dominican  saints,  St.  Thomas  Aquinas,  stand- 
ing, and  St.  Peter  Martyr,  kneeling,  with  his  wounded  head. 
These  two  represent  respectively  the  Learning  and  the 
Sanctity  of  the  Dominican  Order.  Note  that  each  saint  is 
habited  in  the  garb  of  the  monastic  body  which  he  founded, 
while  only  the  Dominicans  themselves  are  permitted  to  show 
any  minor  members.  Every  face  is  characteristic  of  the 
Order  it  represents  :  every  detail  has  its  meaning.  Look 
out  for  these  :  »hey  will  dawn  upon  you. 

The  group  to  the  L  represents  rather  the  Town  of  Florence 
and  this  Monastery  of  San  Marco  situated  within  it.  At 
the  foot  of  the  cross  of  the  Penitent  Thief  (distinguished  by 
a  halo  from  his  reviling  companion)  stands  St.  John  Baptist, 
patron  saint  of  the  town,  as  embodying  Florence.  Beside 
him  sits  St.  Mark,  the  patron  of  the  monastery,  writing,  in 
order  that  you  may  see  he  is  an  Evangelist.  To  the  extreme 
h  again,  we  havt  St.  Lawrence  with  his  gridiron,  in  rich 
deacon's  robes,  as  representing  Lorenzo  de'  ^^^dici  (the 
elder — Cosmo's  brother) :  while  behind  him  stand  the  two 
J.  Iron  saints  of  the  Medici  family,  Cosmo  and  Damian.  Of 
these,  St.  Cosmo,  standing  for  Cosmo  de'  Medici,  then  the 
ruling  power  in  Florence,  looks  up  towards  the  cross  in 
adoration ;  v/hile  St.  Damian,  who  is  here  merely  because 
his  presence  is  needed  to  complete  the  pair,  turns  away  and 
hides  his  face,  weeping— a  very  courtly  touch  for  this  saintly 
painter.  The  whole  composition  thus  indicates  the  Devo- 
tion to  the  Cross  of  the  Mcnastic  Bodies,  and  especially  of 
the  Dominicans,  more  particularly  as  embodied  in  this 
Dominican  house  of  San  Marco,  in  this  town  of  Florence, 
founded  and  protected  by  the  ruling  Medici  family,  and 
especially  by  the  brothers  Cosmo  and  Lorenzo.  We  can 
now  understand  why  the  Crucifixion  is  so  relatively  unim- 
portant in  the  picture,  and  why  all  the  painter's  art  has  rather 


s;t^fr' 


riv. 

peels  San  Giovanni 
ns  ;  these  two  being 
(lurhood  of  Florence, 
ly  natural.  Last  of 
ted  by  the  two  most 
imas  Aquinas,  stand- 
h  his  wounded  head. 
!  Learning  and  the 
»le  that  each  saint  la 
Jy  which  he  founded, 
ire  permitted  to  show 
characteristic  of  the 
its  meaning.  Look 
I. 

the  Town  of  Florence 
tuated  within  it.    At 
hief  (distinguished  by 
inds  St.  John  Baptist, 
ig  Florence.    Beside 
lonastery,  writing,  in 
elist.    To  the  extreme 
his  gridiron,  in  rich 
5nzo  de'  ^^edici  (the 
d  him  stand  the  two 
mo  and  Damian.    Of 
de'  Medici,  then  the 
towards  the  cross  in 
here  merely  because 
;  pair,  turns  away  and 
J  touch  for  this  saintly 
i   indicates  the  Devo- 
idies,  and  especially  of 
as    embodied  in   this 
:his  town  of  Florence, 
g  Medici  family,  and 
id  Lorenzo.    We  can 
is  so  relatively  unim- 
painter'sart  has  rather 


IV.]      THE  SECOND   DOMINICAN   QUARTER     77 

been  lavished  on  the  three  exquisite  groups  in  the  foreground. 
.Study  it  all  long.  The  longer  you  look  at  it,  the  more  will 
you  see  in  it.  [The  ugly  red  of  the  background  was  once 
covered  by  blue,  but  the  pigment  has  peeled  off  or  (ultra- 
marine being  cxpersivc)  been  removed  on  purpose.] 

Do  not  fail  also  to  notice  the  framework  of  Sibyls,  pro- 
phets, and  patriarchs,  nor  the  genealogical  tree  of  Dominican 
•aints  and  distinguished  personages  who  form  a  string-course 
beneath  the  picture,  with  St.  Dominic  as  their  centre-piece, 
flanked  by  two  Popes  of  his  Order,  and  various  cardinals, 
bishops,  etc.,  whose  names  are  all  inscribed  beside  them. 
Look  at  each  separately,  observing  that  the  saints  have  each 
a  halo,  while  the  Beati  or  "  Blessed  "  have  only  rays  round 
their  head.  (Read  up  in  this  connection  the  subject  of 
canonization.) 

After  sitting  about  an  hour  before  this  picture  (for  a  first 
impression)  proceed  into  the  Qreat  Refectory,  at  the  end 
of  the  same  corridor.  A  good  later  fresco  here,  by  Aitonio 
Sogliani,  represents  St.  Dominic  and  the  brethren  at  St. 
Sabina  in  Rome  being  fed  by  angels.  This  appropriate 
subject  for  a  refectory  is  called  the  Providenza  ;  its  obvious 
meaning  is,  "  The  Dominican  Order  receives  its  sustenance 
from  the  Divine  Bounty."  In  the  background  is  a  Calvary, 
by  Fra  Bartolommeo,  with  St.  John  and  Our  Lady,  while 
St.  Catherine  of  Siena,  kneeling  with  her  lily  to  the  R, 
signifies  the  participation  of  the  female  branch  of  the 
Dominicans  in  the  same  divine  protection.  (The  figure  to 
the  L  I  take  for  St.  Antonine.)  Observe  always  the  mean- 
ing and  relevancy  of  refectory  frescoes  :  the  most  frequent 
subjects  are  the  Last  Supper  and  the  Feast  of  Levi. 

The  central  door  gives  access  to  the  corridor  which  leads 
to  the  upper  story.  On  the  \.  of  this  corridor  is  the 
entrance  to  the  Smaller  Refectory,  which  contains  a  fine 
fresco  by  Ghirlandajo  of  the  Last  Supper.  In  this  work 
Judas  is  represented  after  the  earlier  fashion  (as  at  Santa 
Croce)  seated  opposite  to  Christ  in  the  foreground.  (Another 
Cenacolo  by  Ghirlandajo,  so  closely  similar  to  this  as  to  be 
almost  a  replica,  exists  in  the  Refectory  of  the  monastery  of 


jtiliiiSi. 


p^ 


7S 


FLORENCE 


[iv. 


Ognissanti  in  this  town.  The  two  shoiiM  be  visited  and 
compared  together.  Those  who  feel  ,in  interest  in  this 
frequent  and  appropriate  refectory  subject,  should  also 
compare  the  Giotto  at  Santa  Croce  and  the  Cenacolo  di 
Fulijfno  in  the  Via  Faenza.)  Observe  in  this  work  the 
characteristic  decorative  background,  the  border  of  the 
table-cloth,  the  decanterrj  and  dishes,  and  other  dainty 
prettinesses  so  frequent  with  Ghiriandajo,  wliu  delights  in 
ornament. 

Mount  the  stairs  to  the  First  Floor. 

Opposite  you,  at  the  summit,  is  a  beautiful  ♦*Annuncia- 
tion,  all  the  details  of  which  should  be  closely  studied.  This 
is  essentially  a  moittistk  treatment  of  the  subject,  severe  and 
stern  in  architecture  and  furniture,— in  which  respect  it  may 
well  be  contrasted  with  such  earlier  treatments  as  Filippo 
Lippi's  for  the  Medici  Palace,  now  in  the  National  Gallery 
at  London.  The  lo^fpa  in  which  the  scene  takes  place  is 
that  of  the  Church  of  the  Annunziata,  here  in  Florence. 
Ily  a  rare  exception  at  .San  Marco,  this  picture  has  no 
distinctive  touch  of  Dominicanism.  On  the  other  hand, 
you  will  notice  in  almost  all  the  cells  the  figure  of  St. 
Dominic,  often  accompanied  by  the  Medici  sain's,  as  a 
constant  factor.  All  the  frescoes  here  are  by  Fra  Angelico 
himself,  unless  otherwise  mentioned.  Opposite  this  Annun- 
ciation is  another  version  of  St.  Dominic  embracing  the 
Cross.     His  red  star  will  always  distinguish  him. 

Continue  down  the  corridor  to  the  R,  opposite  this 
last  picture,  leading  through  the  Dormitory  of  the  monastery, 
and  visit  the  cells  from  R  to  L  alternately.  Each  has  its 
own  fresco.  I  give  them  as  they  come,  irrespectively  of  the 
official  numbers. 

(i)  "Noli  me  tangere."  Christ  as  t-  gardener,  and  the 
Magdalen. 

(2)  Crucifixion,  with  Mater  Dolorosa,  and  an  adoring 
Dominican. 

(3)  The  Deposition  in  the  Tomb,  with  St.  John  and  the 
mourning  women,  partly  suggested  by  the  Giotto  at  Padua. 
Behind,  St.  Dominic  with  his  lily,  in  adoring  wonder. 


:;#iittSSv 


1 


[IV. 

otiltl  be  viiited  and 
.111  intereiit  in  this 
ubjcct,  should  aUo 
nd  the  Cenacolo  di 
e  in  this  work  the 
the  border  of  the 
,  and  other  dainty 
:ijo,  whu  delights  in 


lautiful  ♦*Annuncia- 
losely  studied.  This 
e  subject,  severe  and 
which  respect  it  may 
eatments  as  Filippo 
[le  National  (iallery 
scene  takes  place  is 
i,  here  in  Florence, 
this  picture  has  no 
On  the  other  hand, 
lis  the  figure  of  St. 

Medii.i  saints,  as  a 
ire  by  Fra  Angelico 
Opposite  this  Annun- 
ninic  embracing  the 
:uish  him. 

he  R,  opposite  this 
ory  of  the  monastery, 
tely.       Each  has  its 

irrespectively  of  the 

;     gardener,  and  the 

sa,  and  an    adoring 

th  St.  John  and  the 
the  Giotto  at  Padua, 
loring  wonder. 


f(#, 


I 


IV.]     THE  SECOND  DOMINICAN  QUART  EN      79 

(4)  Another  Crucifixion  with  a  Dominican  worshipper 
(St.  I'ater  Martyr). 

(5)  Another  *Annunriation,  with  St.  Peter  Martyr  ador- 
ing. The  flame  on  the  archangel's  head  is  conventional. 
Notice  the  exquisite  adoring  figure  of  the  Madonna,  who 
here  kneels  to  the  angel,  while  in  later  treatments  the  angel 
kneels  to  her.  This  is  again  a  very  monastic  picture  ;  tho 
architecture  is  suggested  by  this  very  monastery. 

(6)  The  Hearing  of  the  Cross,  with  an  adoring 
Dominican  (St.  Thomas  Aquinas  ?) 

(7)  Crucifixion,  with  Madonna  and  St.  John,  St.  Dominic, 
and  St.  Jerome.  Observe  the  cardinal's  hat  in  the  corner, 
which  is  St.  Jerome's  emblem.  As  before,  the  figures 
represent  Monasticisrn  as  a  whole  and  the  Dominicans  in 
particular. 

y'8)  Christ  bound  to  the  pillar  to  be  scourged,  accom- 
panied by  a  Dominican,  similarly  stripped  for  penance  and 
flagellation.    A  mystical  subject. 

(9)  Nativity,  with  the  ox  and  ass  and  other  habitual 
features.  St.  Peter  Martyr  with  his  wounded  head  adoring. 
The  figure  to  the  l  is  St.  Catherine  of  Alexandria. 

(10)  A  Pictk;  Peter  and  the  maid,  Kiss  of  Judas, 
Scourging  (with  only  hands  visible),  Judas  receiving  tho 
bribe,  and  other  symbolical  scenes  in  background.  In  the 
foreground,  St.  Thomas  Aquinas  with  his  book  in  adoration. 

On  the  wall,  between  this  and  the  next  cell,  Madonna 
upd  Child  with  Dominican  and  Medici  saints,— a  symbolical 
composition,  similar  to  that  in  the  Chapter  House.  Extreme 
L,  St.  Dominic;  near  him,  St.  Cosmo  and  Damian  in  their  red 
doctors'  robes,  representing  the  family  of  the  founder ;  beside 
them,  St.  Mark  as  patron  of  this  convent :  on  the  opposite 
side,  St.  John  the  Evangelist,  St.  Thomas  Aquinas,  St. 
Lawrence  with  his  gridiron,  representing  (the  elder)  Lorenzo 
de'  Medici,  and  St.  Peter  Martyr  (for  Piero  de'  Medici). 
All  the  martyrs  bear  their  palms  of  martyrdom  ;— once  more 
the  Learning  and  Sanctity  of  the  Dominican  order,  and 
this  convent  of  St.  Mark,  with  its  Medici  founder  and  the 
saints  of  his  son  and  brother.     Note,  by  it,    way,  the  draped 


8o 


FLORENCE 


[IV. 


child,  the  red  cross  behind  the  head  of  Christ,  nnd  the  sta"- 
which  always  almost  appears  on  the  Madonna's  shoulder. 
The  more  you  observe  these  symbolical  points,  the  more 
will  you  understand  Florentine  pictures.  I  recommend  the 
developmtiit  and  variation  of  the  halo  of  Christ  as  a  subject 
for  study. 

(ii)  ♦^l he  Transfiguration.  Christ  in  a  mandorla,  with 
Moses  and  Elias  ;  His  extendv'jd  hands  prefigure  the  cruci- 
fixion.    Below,  the  three  saints  whom  He  took  up  into  the 

-  mtain.  L,  the  Madonna  ;  R,  St.  Dominic  observing  the 
mystery. 

(12)  Crucifixion  ;  Madonna,  Magdalen,  an  adoring  St. 
Dominic. 

(13)  Scourging  and  Buffeting  ;  the  Crown  of  Thorns. 
Only  the  hands  and  heads  are  seen  :  Fra  Angelico  could 
not  bring  himself  to  paint  in  full  this  painful  scene.  Below, 
St.  Dominic  reverently  looking  away  from  it. 

(14)  Baptism  of  Christ ;  the  positions,  and  the  angels  on 
the  bank,  are  conventional.  Observe  them  elsewhere.  To 
the  R,  two  Saints  adoring. 

(15)  Resurrection,  with  the  Maries  at  the  sepulchre.  Their 
attitudes  are  admirable.     On  the  L,  St.  Dominic  adoring. 

(16)  Crucifixion,  a  symbolical  treatment  with  angels  and 
the  usual  St.  Dominic. 

(17)  **Coronation  of  the  Virgin,  a  most  lovely  subject, 
in  celestial  colouring.  Below,  adoring  saints,  conspicuous 
among  whom  are  not  only  St.  Dominic,  St.  Thomas  Aquinas, 
St.  Peter  Martyr  and  St.  Mark,  but  also,  by  a  rare  conces- 
sion, St.  Francis  with  the  Stigmata.  This  is  a  compliment 
to  our  ''ranciscan  brethren.  Perhaps  the  cell  was  lent  to 
Franciscans. 

(18)  Crucifixion,  in  this  case  with  no  Dominican  sym- 
bolism. 

(rg)  *Presentation  in  the  Temple,  with  a  charming  girlish 
Madonna.  The  St.  Joseph  behind  is  a  marked  type  with 
Fra  Angelico.  Observe  him  elsewhere.  On  either  side, 
St.  Peter  Martyr  and  St.  Catherine  of  Siena — the  male  and 
female  repret,entatives  of  Dominican  piety. 


T 


ilL. 


a^f" 


[IV. 

of  Christ,  nnd  the  sta"- 
;  Madonna's  shoulde.. 
)lical  points,  the  more 
res.     I  recommend  the 

0  of  Christ  as  a  subject 

it  in  a  mandorla,  with 
ids  prefigure  the  cruci- 
m  He  took  up  into  the 
Dominic  observing  the 

dalen,  an  adoring  St. 

he  Crown  of  Thorns, 
n  :  Fra  Angelico  could 

1  painful  scene.     Below, 
from  it. 

ions,  and  the  angels  on 
'e  them  elsewhere.    To 

at  the  sepulchre.  Their 
St.  Dominic  adoring, 
atment  with  angels  and 

,  a  most  lovely  subject, 
ing  saints,  conspicuous 
lie,  St.  Thomas  Aquinas, 
also,  by  a  rare  conces- 
This  is  a  compliment 
ips  the  cell  was  lent  to 

h  no  Dominican  sym- 

with  a  charming  girlish 

is  a  marked  type  with 

i'here.     On  either  side, 

of  Siena — the  male  and 

n  piety. 


^1? 


T 


IV.]       THE  SECOND  DOMINICAN  QUARTER     8 1 

(20)  Madonna  and  Child,  with  St.  Thomas  Aquinas,  and 
(I  think)  St.  Zenobius,  bishop  of  Florence.  He  often  ap- 
pears ':.!  works  in  this  city. 

T'Ue  cells  to  the  R,  along  the  nex»  corridor,  all  contain 
iepetitions  of  a  single  subject, — the  Crucifixion,  with  St. 
Dominic  in  adoration,  but  in  varied  attitudes,  all  of  them 
significant.  They  need  not  be  particularised.  These  fres- 
coes are  said  to  have  been  executed  by  Fra  Angelico's 
brother,  Fra  Benedetto,  who  also  assisted  him  in  some  of 
the  preceding.  At  any  rate  they  are  the  work  of  a  -upil 
and  imitator.  The  cells  were  those  inhabited  by  the 
novices. 

The  last  thre;  cells  in  this  corridor  were  those  inhabited 
by  Savonarola,  as  the  little  I  atin  inscription  testifies.  The 
first  contains  his  bust,  with  a  modern  relief  of  his  preaching 
at  Florence  (by  Duprd).  The  walls  have  frescoes  by  Fra 
Bartolommeo,  contrasting  ill  with  his  medijeval  prede- 
cessor :  Christ  as  a  pilgrim  received  by  two  Dominicans, 
etc.  The  second  contains  a  portrait  of  the  great  prior  by 
Fra  Bartolommeo,  and  Savonarola  relics.  The  third  has  a 
curious  picture  of  the  scene  of  his  burning  in  the  Piazza 
della  Signoria, — interesting  ^Iso  as  a  view  of  the  Florence  of 
the  period.  (Read  up  the  period  in  Villari :  see  also  George 
Eliot's  Romola). 

Now,  return  to  the  head  of  the  staircase  by  which  you 
entered,  and  proceed  to  examine  the  cells  in  the  corridor 
beyond  the  great  Annunciation. 

The  first  to  the  L  contains  a  quaint  genealogical  tree  of 
the  Dominican  order,  and  several  relics,  sufficiently  described 
on  their  frames.  These  are  ♦he  rooms  of  St.  Antoninus, 
and  contain  the  bier  on  which  his  body  used  to  be  carried 
in  procession.  It  now  rests  in  th?  adjoining  church.  The 
fresco  represents  Christ  delivering  the  souls  of  the  pious 
dead  from  Hades.  Notice  the  personal  Hades  crushed 
under  the  doors  of  Hell,  as  described  in  the  Apocryphal 
Gospel  of  Nicodemus.  The  wnite  robe,  and  the  banner 
with  the  red  cross,  always  mark  Christ  after  the  Crucifixion 
till  the  Ascension.    Observe  the  lurking  devils  in  the  cran- 

F 


a 


82 


FLORENCE 


[IV. 


nies.  Conspicuous  among  the  dead  is  the  figure  of  St.  John 
Baptist,  patron  of  Florence,  who,  having  predeceased  the 
Saviour,  was  then  in  Hades.    Study  this  picture  closely. 

(2)  L,  Christ  and  the  Twelve;  the  Sermon  on  the 
Mount.  (3)  In  the  small  cell  adjoining,  two  scenes  of  the 
Temptation,  with  ministering  angels.  (4)  Another  Cruci- 
fixion, with  fainting  Madonna  and  an  adoring  Dominican. 

Beyond  this  cell,  the  door  to  the  R  gives  access  to  the 
Library,  whose  architecture  has  coloured  several  of  Fra 
Angelico's  pictures  in  the  Dormitory.  The  cases  contain 
beautiful  illuminated  manuscripts,  chiefly  by  Fra  Benedetto, 
all  of  which  should  be  inspected,  though  description  is  im- 
possible. 

Next  cell,  R,  Crucifixion,  with  St.  Longinus  piercing  the 
side  of  Christ,  and  an  adoring  Dominican.  St.  Martha, 
exceptionally  represented  in  this  picture,  has  her  name  in- 
scribed accordingly.  She  occurs  elsewhere  here  :  I  do  not 
know  the  reason,  but  one  must  be  forthcoming.  Could  it 
have  been  the  narr.e  of  the  painter's  mother  or  sister  ? 

I,,  the  Kiss  oi  Judas,  unusually  spiiited,  with  Roman 
soldiers,  and  Peter  cutting  off  the  ear  of  Malchus  (a  constant 
concomitant).  This  picture  has  perhaps  more  action  than 
any  other  by  Fra  Angelico.  Also,  in  a  frame,  *Madonna 
della  Stella,  one  of  Fra  Angelico's  most  famous  smaller 
works. 

In  the  adjacent  cell,  an  exquisite  little  *tabemacle  of  the 
Coronation  of  the  Virgin,  clof<ily  resembling  the  well-known 
picture  in  the  Louvre.  The  saints  below  are  worth  the 
trouble  of  identifying.  Fragment  of  a  fresco  of  the  Entry 
into  '/erusalem. 

Next,  the  Agony  in  the  Garden,  with  Mary  and  Martha. 
An  exquisite  little  tabernacle  of  the  Annunciation  and  the 
Adoration  of  the  Magi.  Contrast  Fra  Angelico's  style  in 
fresco  and  panel.  Below,  a  row  of  named  saints  :  identify 
their  types. 

Then,  the  Last  Supper,  an  unusual  and  symbolical  treat- 
ment with  wafers  and  patina  :  say  rather,  a  mystic  Institution 
of  the  Eucharist.    Four  Apostles  have  risen  from  their  scats 


mm 


I 


tm 

5  figure  of  St.  John 
J  predeceased  the 
picture  closely. 
!  Seiinon  on  the 
,  two  scenes  of  the 
I4)  Another  Cruci- 
ring  Dominican. 
;ives  access  to  the 
Ed  several  of  Fra 
The  cases  contain 
by  Fra  Benedetto, 
description  is  im- 

iginus  piercing  the 
ican.  St.  Martha, 
,  has  her  name  in- 
jre  here  :  I  do  not 
icoming.  Could  it 
er  or  sister  ? 
ited,  with  Roman 
lalchus  (a  constant 
>  more  action  than 
frame,  *Madonna 
st  famous  smaller 

I  *tabemacle  of  the 
ing  the  well-known 
ow  are  worth  the 
resco  of  che  Entry 

Mary  and  Martha, 
lunciation  and  the 
^ngelico's  style  in 
ed  saints :  identify 

d  symbolical  treat- 
I  mystic  Institution 
ien  from  their  scats 


IV.]      THE  SECOND  DOMINICAN   QUARTER     83 

and  kneel :  on  the  other  side,  a  knee'mg  saint  in  white — 
not,  I  think,  Our  Lady.  Notice  the  quaint  device  of  the 
windows,  in  order  to  suggest  the  upper  chamber. 

Last  cells  on  L,  Christ  being  nailed  to  the  Cross  (with 
Nicodemus,  Joseph  of  Aramathaea,  and  Longinus),  and  a 
Crucifixion,  with  St.  Dominic  spreading  his  arms  in  adora- 
tion, and  St.  Thomas  with  his  book,  philosophically  contem- 
plating the  mystery  of  redemption.  Observe  such  frequent 
touches  of  characterisation.  Note,  too,  the  halo  on  the 
penitent  thief,  whose  anatomy  is  unusually  good  for  Fra 
Angelico. 

On  the  end  wall,  tapestry  with  the  arms  of  the  Medici. 

The  cells  to  the  R  are  those  which  were  occupied  by  Cosmo, 
Pater  Patrice,  when  he  retired  to  the  convent,  in  retreat,  for 
prayer  and  meditation.  The  first  therefore  contains  a  Cruci- 
fixion, with  St.  Cosmo,  St.  John,  and  St.  Peter  Ivlartyr  (the 
last  two  as  patrons  of  Giovanni  and  Piero  de'  Medici). 
Cosmo  could  thus  pay  his  devotions  to  the  Saviour  before 
his  own  patron  and  those  of  his  sons.  The  upper  cell,  where 
Cosmo  slept,  contains  a  Pietk,  above  which  is  the  Adoration 
of  the  Magi,  doubtless  as  represenling  worldly  authority 
submitting  to  the  Church,  and  therefore  most  appropriate 
for  the  retreat  of  the  powerful  founder.  Notice  the  charac- 
teristic figure  of  Joseph.  The  attitudes  of  the  Three  Kings 
also  occur  exactly  alike  in  many  other  pictures.  The  train 
of  attendants  with  horses  and  camels  to  the  R  (most  fearsome 
monsters)  are  also  characteristic.  The  riders  are  supposed 
to  be  observing  the  Star  in  the  East.  Notice  the  attempt  to 
introduce  types  of  Orientals,  some  of  whom  have  truly 
Asiatic  features.  This  cell  also  contain'^  a  good  terracotta 
bust  of  St.  Antoninus,  and  a  portrait  of  Cosmo  (in  the  dress 
of  his  patron  saint)  by  Pontormo,  of  the  i6th  century  (not  of 
course  contemporary,  but  reconstructed  from  earlier  mate- 
rials). St.  Antoninus  used  here  to  converse  with  Cosmo, 
who  also  received  Fra  Angelico. 

After  visiting  the  monastery  of  San  Marco,  I  advise  you 
to  pay  a  brief  visit  to  the  Church  of  San  Marco  by  its 


1 


84 


FLORENCE 


[JV. 


side, — originally,  of  course,  the  chapel  of  the  monastery. 
TYiG  facade '\a  of  the  i8th  century,  and  ugly,  but  contains  in- 
teresting symbolism  of  St.  Mark,  St.  Dommic,  St.  Antonine, 
etc.,  which  you  will  now  be  in  a  position  to  understand,  for 
yourself.  In  the  porch,  on  the  holy  water  stoup,  and  else- 
where, the  balls  of  the  Medici. 

The  interior,  though  ancient,  was  so  painfully  altered  in 
the  1 6th  century  as  to  preserve  little  or  nothing  of  its 
original  architecture.  It  contains,  however,  a  few  old  works, 
the  mo.«!t  interesting  of  which  are  a  Christ  on  a  gold  ground 
over  the  central  door,  said  to  be  by  Giotto.  (Compare  with 
several  old  crucifixes  in  the  Uffizi.)  The  Madonna  over  the 
second  al'.ar  is  by  Fra  Bartolommeo,  a  monk  of  the  monas- 
tery. Over  the  third  altar  (St.  Dominic's)  is  an  early  Christian 
mosaic  of  the  Madonna,  from  Rome,  so  greatly  modernised, 
with  new  saints  added,  as  to  be  of  little  or  no  value.  But 
the  most  interesting  object  in  the  church  is  the  Chapel  of 
St.  Antonine,  prior  of  the  monastery,  and  Archbishop  of 
Florence,  whose  cells  you  have  already  seen  in  the  adjoining 
dormitory.  It  still  contains  the  actual  body  of  the  Arch- 
bishop. The  architecture  is  by  Giovanni  da  Bologna,  who 
also  executed  the  statue  of  the  saint.  The  other  statues 
(poor)  are  by  Francavilla.  The  frescoes  by  the  entrance 
represent  the  Burial  and  Translation  of  St.  Antonine.  This 
chapel,  ugly  enough  in  itself,  helps  one  to  understand  the 
late  frescoes  in  the  monastery.  The  church  also  contains 
the  tombs  of  the  two  distinguished  humanists  and  friends  of 
the  Medici,  Pico  della  Mirandola  and  Poliziano.  You  will 
not  fail  to  observe,  throughout,  the  Dominican  character  of 
the  church,  nor  its  close  relation  to  the  adjoining  monastery 
and  its  inmates. 


Visit  some  other  day  the  Riccardi,  formerly  the  Medici 
Palace,  close  by,  the  original  home  of  the  great  family, 
before  it  migrated  to  the  Pitti.  The  chapel  is  very  dark ; 
therefore,  read  all  that  follows  before  starting.  This  palace 
was  built  in  1430  for  Cosimo  Pater  Patria2  by  Michelozzo, 
the  Medici  architect,  who  also  built  the  Monastery  of  San 


':^^^mm'wy^ 


[IV. 

f  the  rocnastery. 
,  but  contains  in- 
nic,  St.  Antonine, 
o  understand,  for 
'  stoup,  and  eise- 

linfully  altered  in 
or  nothing  of  its 
r,  a  few  old  works, 
on  a  gold  ground 
,  (Compare  with 
dadonna  over  the 
nk  of  the  monas- 
an  early  Christian 
eatly  modernised, 
)r  no  value.    But 

is  the  Chapel  of 
id  Archbishop  of 
n  in  the  adjoining 
ody  of  the  Arch- 
da  Bologna,  who 
rhe  other  statues 

by  the  entrance 
,  Antonine.  This 
o  understand  the 
rch  also  contains 
sts  and  friends  of 
iziano.  You  will 
lican  character  of 
oining  monastery 


nerly  the  Medici 
he  great  family, 
pel  is  very  dark ; 
ing.  This  palace 
ae  by  Michelozzo, 
Monastery  of  San 


IV.]     THE  SECOND  DOMINICAN  QUARTER      85 

Marco  and  the  Medici  Chapel  at  Santa  Croce,  as  well  as 
Piero  de'  Medici's  pretty  little  baldacchino  or  shrine  at 
San  Miniato.  Compare  all  these,  in  order  to  understand 
Michelozzo's  place  in  the  evolution  of  Renaissance  archi- 
tecture. Note,  too,  how  the  politic  Medici  favoured  both 
the  important  monastic  bodies.  This  was  the  Palace  of 
Lorenzo  de'  Medici,  and  it  continued  to  be  the  family  home 
till  the  Medici  migrated  about  1549  to  the  Pitti.  It  was  sold 
ten  years  later  to  the  Riccardi  family,  whose  name  it  still 
bears  ;  and  it  is  now  the  Prefecture. 

The  exterior  of  the  Palace  is  very  handsome :  the  ruslica 
work  here  for  the  first  time  is  made  to  taper  upward.  Ad- 
mirable cornice.  The  Court  is  imposing  :  it  contains  a 
curious  jumble  of  tombs,  buLts,  sarcophagi,  antique  inscrip- 
tions, and  mediaeval  fragments.  The  medallions  above  the 
arcades  are  by  Donatello,  after  antique  gems.  The  total 
effect  is  too  mixed  to  be  pleasing. 

But  the  great  reason  for  visiting  the  Medici  Palace  is  the 
Chapel :  (ask  the  porter ;  fee,  half  a  franc).  This  dark 
little  building  is  entirely  covered  with  one  gorgeous  **  fresco 
by  Benozzo  Gozzoli,  painted  by  means  of  artificial  light, 
about  1460— his  greatest  work,— and  one  of  the  loveliest 
things  to  be  seen  in  Florence.  It  represents  the  journey 
of  the  Three  Kings  to  Bethlehem,  represented  as  a  stately 
mediccval  processional  pageant  through  a  delicious  and 
varied  landscape  background.  Benozzo  was  a  pupil  of  Fra 
Angelico,  and  he  took  much  from  his  master,  as  well  as 
some  hints  from  Gentile  da  Fabrianos  Adoration  of  the 
Magi,  now  in  the  Belle  Arti  (but  then  at  Santa  TrinitJi), 
which  you  will  see  hereafter ;  the  two  should  be  carefully 
compared  together.  Therefore,  on  this  account  also,  you 
should  bear  in  mind  the  double  connection  between  San 
Marco  and  the  Medici  Palace.  Note,  however,  that  Benozzo 
has  a  sense  of  landscape  and  pretty  fantastic  adjuncts 
denied  to  Fra  Angelico's  ascetic  art,  and  only  shared  in  part 
by  Gentile  de  Fabriano.  At  San  Marco  all  is  monastic 
sternness  ;  at  the  Medici  Chapel,  all  is  regal  and  joyous,  all 
glitters  with  gold  and  glows  with  colour. 


86 


FLORENCE 


[IV. 


On  tueLwall,  the  Eldest  King,  mounted  on  a  white  m':le 
(cruelly  mutilated  to  make  a  door)  rides  towards  Bethlehem. 
The  venerable  face  and  figure  are  those  ot  the  Patriarch 
Joseph  of  Constantinople,  who  was  then  in  Florence 
attending  the  abortive  council  already  mentioned  for  the 
reunion  of  the  eastern  and  western  churches.  A  troop  of 
camels  bearing  his  present  zig-zags  along  the  '  mountain 
route  in  front  of  him.  Notice  also  the  hunMng  leopard, 
already  introduced  into  a  similar  scene  by  Gentile  da 
Fabriano,  whose  influence  on  Benozzo  is  everywhere 
apparent 

On  the  end  wall  comes  the  Second  or  Middle-aged  King, 
in  a  rich  g.  een  robe,  daintily  flowered  with  gold.  To  mark 
his  Easteri  origin,  he  wears  a  turban,  surmounted  by  a 
crown.  Tht  face  and  figure  are  those  of  John  Palaeologus, 
Emperor  of  ^'Constantinople,  then  in  Florence  for  the  same 
purpose  as  tie  Patriarch  Joseph.  His  suite  accompany 
him.  Observe  to  the  far  L  three  charming  youths,  wearing 
caps  with  *'.e  Medici  feathers. 

On  *^  i<  wall,  Xti'i  Young  King,  on  a  white  horse  like  the 
others,  and  wearing  a  crown  which  recalls  Gentile,  moves  on 
with  stately  march  in  the  same  direction.  This  king  is  a 
portrait  of  Lorenzo  the  Magnificent.  In  front  of  him,  two 
pages  bear  his  sword  and  his  gift.  Behind  him,  various 
members  of  the  Medici  family  follow  as  part  of  the  pro- 
cession :  among  them  you  may  notice  Cosimo  Pater  Patriae, 
with  a  page  leading  his  horse.  Further  back,  some  other 
less  important  personages  of  the  escort,  among  tuem 
Benozzo  himself,  with  his  name  very  frankly  inscribed  on 
his  headgear. 

On  the  choir  wall,  groups  ot  most  exquisite  and  most 
sympathetic  angels  stand  or  kneel  in  adoration.  These 
ehaiming  figures  originally  uttered  their  sonorous  glories  tc 
the  Madonna  and  Child  in  the  central  altar-piece,  which  has 
been  removed  to  make  vay  for  the  existing  window.  This 
altar-piece  was  by  Benozzo  himself,  and  represented  the 
Adoration  of  the  Child ;  it  is  now  in  the  Old  Pinakothek  at 
Munich.     I  do  not  know  at  what  time  the  original  Adoration 


;;^c; 


[IV. 

on  a  white  mile 
'ards  Bethlehem, 
ot  the  Patriarch 
en  in  Florence 
entioned  for  the 
:hes.  A  troop  of 
g  the  "lountain 
lunMng  leopard, 
by  Gentile  da 
I    is    everywhere 

iddle-aged  King, 
gold.  To  mark 
urmounted  by  a 
shn  Palaeologus, 
nee  for  the  same 
suite  accompany 
r  youths,  wearing 

ite  horse  like  the 
Jentile,  moves  on 
This  king  is  a 
ront  of  him,  two 
nd  him,  various 
part  of  the  pro- 
no  Pater  Patriae, 
jack,  some  other 
t,  among  tnem 
kly  inscribed  on 

[uisite  and  most 
loration.  These 
norous  glories  tc 
•piece,  which  has 
window.  This 
represented  the 
Id  Pinakothek  at 
riginal  Adoration 


IV.]      THE  SECOJD  DOMINICAN  QUARTER      87 

was  removed,  but  in  1837  Filippo  Lippi's  Nativity,  now  in 
the  Belle  Arti,  filled  the  vacancy. 

I  have  very  briefly  described  the  main  idea  of  these 
ineffably  beautiful  frescoes.  You  must  note  for  yourself 
the  rich  caparisons  ot  the  horses,  the  shepherds  and  their 
flocks,  the  pomp  of  the  escort,  the  charming  episodes  in  the 
background,  the  delicious  and  fairy-like  mediaeval  landscape, 
the  castles  and  rocks,  the  trees  and  bright  bird :,  the  hawks 
and  rabbits,  the  endless  detail  of  the  fanciful  accessories. 
Pomegranate  and  vine,  stone-fir  and  cypress,  farmyard  and 
trellis,  all  is  dainty  and  orderly.  In  these  works  for  the 
first  time  the  Joy  in  the  beauty  of  external  nature,  just 
foreshadowed  in  Gentile  da  Fabriano,  makes  itself  distinctly 
and  consciously  felt.  If  the  naive  charm  of  Benozzo's  rich 
and  varied  work  attracts  you,  you  can  follow  up  their  artist's 
later  handicraft  in  the  Campo  Santo  at  Pisa,  and  in  the  lost 
little  mountain  town  of  San  Gimignano,  near  Siena. 


THE  BELLE  ARTI 

r  T)  Y  far  the  most  important  gallery  in  Florence,  for  the 
L  X3  study  of  Florentine  art  at  least,  is  the  Accademia 
delle  Belle  ArtI  in  the  Via  Ricasoli.  This  gallery  contains 
a  splendid  collection  of  the  works  of  the  Tuscsn  and 
Umbrian  Schoold,  from  the  earliest  period  tj  the  Higli 
Renaissance,  mostly  brought  from  suppressed  churches  and 
convents.  It  is  destitute,  ind-^ed,  of  any  works  by  Raphael, 
Michael  Angelo,  Leonardo,  Titian,  and  the  other  chief 
painters  of  the  early  i6th  century,  but  it  possesses  a  magnifi- 
cent series  of  the  great  artists  of  the  14th  and  15th  centuries, 
when  art  was  feeling  its  way,  whose  works  are  therefore  so 
much  more  interesting  to  the  student  of  the  history  and 
evolution  of  painting.  It  begins  with  a  collection  of  Qiot- 
tesque  altar-pieces,  and  then  leads  gradually  on,  through 
the  slowly  improving  art  of  the  early  15th  century,  to  the 
great  group  of  glorious  Florentines,  Filippo  LippI,  Filippino 
Lippi,  Botticelli,  Verrocchio,  who  immediately  preceded 
the  early  16th  century  movement  in  art  which  culminated  in 
the  Decadence.  It  is  also  the  first  gallery  which  you 
should  visit,  because  its  historical  range  is  on  thu  whole  less 
varied,  its  continuity  greater,  its  stages  of  development  more 
maiked,  than  in  other  instances.  Being  confined  to  the 
early  -oainters  of  Florence  and  of  the  upland  country  behind 
it,  it  ■..  ables  you  more  readily  to  grasp  the  evolution  of  art 
in  a  sinjjle  province,  up  to  the  date  of  Raphael,  than  you 
can  do  elsewiiere.  I  advise  you,  therefore,  to  spend  many 
days  in  this  gallery  before  proceeding  to  the  Uffizi  and  the 

Pitti.     Or,  if  this  sounds  too  hard  a  saying,  then  look 

«« 


~ZJ^.„v^^ 


^w:w 


ma^M 


v.] 


THE  BELLE  ART! 


89 


through  the  two  last-named  casually  first,  but  begin  your 
definite  study  in  detail  with  the  Relle  Arti.] 


I  Florence,  for  the 
s  the  Accademia 
s  gallery  contains 
the  Tuscsn  and 
riod  tj  the  High 
sed  churches  and 
orks  by  Raphael, 

the  other  chief 
issebsesa  magni  fi- 
nd isth  centuries, 
i  are  therefore  so 

the  history  and 
illection  of  Qiot- 
lually  on,  through 
h  century,  to  the 
}  Lippi,  Filippino 
ediately  preceded 
lich  culminated  in 
tilery  which  you 

on  thy  whole  less 
levelopment  more 
I  confined  to  the 
id  country  behind 
e  evolution  of  art 
Laphael,  than  you 
e,  to  spend  many 
the  Uffizi  and  the 
laying,  then  look 


Go  to  the  Cathedral  square,  and  then  take  the  Via 
Ricasoli  to  your  L.  A  little  before  you  arrive  at  the  Pisizza 
of  San  Marco,  you  will  see  on  your  R  a  door  which  gives 
access  to  the  gallery— officially  known  as  the  Reale  Galleria 
Antica  e  Moderna.  Open  daily  at  10,  i  lira.  Free  on 
Sundays. 

The  First  Room  which  we  enter— the  Outer  Corridor- 
contains  Early  Tuscan  panels,  chiefly  altar-pieces  from 
suppressed  churches,  and  of  comparatively  small  artis'ir 
value.  Nevertheless,  as  leading  up  to  later  works,  and  a 
exhibiting  the  characteristic  assemblages  of  Florentine  or 
Tuscan  saints,  they  deserve  the  closest  attention.  I  will  not 
particularise  as  to  many  of  them,  but  will  call  attention  as 
we  pass  to  a  few  interesting  retails.  Unless  you  s.udy 
these  early  and  to  some  peop.e  unattractive  worka  you 
cannot  properly  comprehend  the  later  ones.  I  will  lay 
stress  only  on  the  saints  or  motives  which  oftenest  recur,  so 
as  to  lead  you  gradually  on  to  a  knowledge  of  the 
subject. 

L  wall,  51,  Ascension  :  with  St.  Lawrence,  as  a  Medici 
patron  ;  St.  John,  ps  patron  of  Florence  ;  St.  Benedict ;  and 
St.  Mark.  Above,  in  two  separate  lozenges,  the  Annuncia- 
tion.    From  a  monastery  in  Florence. 

49,  Crucifixion.  Note  the  St.  John  and  Magdalen,  and 
the  angel  catching  the  sacred  blood — a  frequent  feature. 
Look  out  for  it  elsewhere.  The  blood  was  preserved  in  the 
Holy  Grail.  Some  of  it  is  at  Bruges  and  in  reliquaries  in 
other  churches. 

47,  Neri  di  Bicci,  that  late  manufacturer  of  Giottesque 
pictures  to  order.  St.  Francis  with  the  Stigmata,  embracing 
the  Cross;  to  the  extreme  R,  the  ascetic  portrait  of  St. 
Bernardino  of  Siena.  The  other  saints  are  Jerome,  the 
Baptist,  Antony  of  Padua,  and  the  Magdalen.  A  Fran- 
ciscan picture. 

46,  A  Madonna,  attributed  most  doubtfully  to  Cimabiie. 


' 


90 


ORENCE 


[V. 


It  looks  much  more  like  a  work  of  the  school  of  C.iolto. 
Notice  the  goldfinch. 

Among  the  group  of  Saints  close  by,  notice  again,  43,  St. 
Lawrence,  in  his  usual  rich  deacon's  robes.  From  the 
monastery  of  San  Marco. 

In  35  we  get  once  more  a  Holy  Trinity  (observe  its 
composition)  with  ,t.  Cosrno  and  St.  Damian,  St.  Francis 
kneeling,  and  other  saints.  Do  not  overlook  the  medical 
instruments  of  the  holy  doctors,  nor  the  little  Annunciation 
in  the  predella.  The  remaining  saints  arc  named  beneath. 
Observe  always  such  named  saints  ;  they  will  help  you  to 
identify  others  by  the  emblems. 

32,  Neri  di  Bicci,  shoul(^  be  observed  for  its  St.  Apollonia 
with  the  pincers  (often  carrying  a  tooth  elsewhere)  and  St. 
Catherine  with  the  wheel.  Note  its  spikes,  which  you  will 
find  tolerably  constant.  This  picture  came  from  the  convent 
of  St.  Apollonia  :  hence  the  position  of  the  saint  and  her 
sister  martyr  :  St.  Louis  of  Toulouse  should  also  be  noted. 

28,  Same  artist.  A  most  characteristic  Annunciation, 
with  loggia,  the  orthodox  division  between  the  angel  and 
Madonna,  the  Eternal  Father  discharging  the  dove,  the  bed- 
chamber in  the  background,  and  all  the  typical  Giottesque 
peculiarities.  I  specially  recommend  a  study  of  Annuncia- 
tions.   This  gives  the  commonest  type  :  notice  it  carefully. 

In  27  you  get  the  old  patron  saint  of  Florence,  Santa 
Reparata,  whom  you  saw  so  abundantly  at  the  Opera  del 
Duomo. 

In  26,  note  St.  Barbara  with  her  tower,  as  well  as  the 
characteristic  Florentine  figure  of  St.  John  Baptist.  Thf 
bald  head  of  St.  Paul  (with  his  sword,  on  the  L)  has  the 
typical  features  always  given  to  the  Prince  of  the  Apostles. 
The  other  saints  are  Benedict  and  John  the  Evangelist. 

22  is  excellent,  for  comparison  of  the  central  subject  with 
the  last ;  while  the  St.  Michael  to  the  L,  weighing  naked 
bouls,  and  trampling  on  a  highly  Giottesque  dragon,  strikes 
a  common  keynote.  To  the  R,  St.  Stephen,  with  the  stones 
on  his  head,  is  equally  typical.  Note  the  circle  of  angels 
above,  and  the  trio  playing  musical  instruments  below,  who 


fisSl&i 


[V. 
school  of  Giolto. 

dice  again,  43,  St. 
robes.      From  the 

finity  (observe  its 
amian,  St.  Francis 
erlook  the  medical 
little  Annunciation 
ire  named  beneath. 
f  will  help  you  to 

ir  its  St.  ApoUonia 
elsewhere)  and  St. 
Ices,  which  you  will 
le  from  the  convent 
the  saint  and  her 
lid  also  be  noted. 
Stic  Annunciation, 
een  the  angel  and 
the  dove,  the  bed- 
typical  Giottesque 
itudy  of  Annuncia- 
notice  it  carefully, 
of  Florence,  Santa 
t  at  the  Opera  del 

er,  as  well  as  the 
[ohn  Baptist.  Thf 
on  the  l)  has  the 
>ce  of  the  Apostles, 
he  Evangelist, 
entral  subject  with 
L,  weighing  naked 
que  dragon,  strikes 
len,  with  the  stones 
he  circle  of  angels 
uments  below,  who 


v.] 


THE  BELLE  ARTl 


91 


develop  later  into  the  exquisite  child-cherubs  of  Raphael  or 
Hellini.  Every  detail  here  is  worth  study,  not  as  art,  but  as 
type  or  symbol.  Go  from  one  picture  of  a  subject  to  others 
WVf  it. 

.  21,  St.  Vincent  Ferrer,  the  Dominican.    Study  him  for 
future  recognition. 

20  has  a  Trinity,  noticeable  for  its  very  youthful  Eternal 
Father.  Compare  its  St.  Michael  with  that  in  the  last. 
The  St.  Antony  the  Abbot  is  also  chaiacteristic.  To  the 
extreme  R  beyond  St.  Francis,  stands  St.  Julian,  patron 
saint  of  Rimini.  Do  not  overlook  the  six-winged  red 
seraphs,  and  'he  Annunciation  in  the  lozenges.  The  in- 
scription gives  the  name  of  the  donor  and  the  date,  1416. 

18,  Another  St.  Bernardino  of  Siena,  bearing  the  IHS, 
with  which  we  are  already  familiar  at  Santa  Croce.  Observe 
the  well-known  portrait  character  of  the  pictures  of  this 
saint.     From  the  Franciscan  convent  of  Monte  Oliveto. 

14,  Bicci  di  Lorenzo.  Madonna  with  cardellino  or  gold- 
finch :  may  be  compared  with  the  so-called  Cimabue  close 
by.  Note  that  this  is  a  Franciscan  picture  (from  San 
Francesco  in  Fiesole) :  therefore  it  has  St.  Francis  with  the 
stigmata,  St.  Louis  of  Toulouse  habited  as  a  bishop  in  a  red 
robe,  spangled  with  fleurs-de-lis,  and  with  the  crown  which 
he  rejected  lying  at  his  feet,  as  well  as  St.  Anthony  of  Padua, 
holding  the  flames,  and  St.  Nicholas  of  Bari  with  his  three 
golden  balls.  Do  not  omit  to  note  throughout  such  details 
as  the  flamelike  ornaments  on  the  heads  of  the  angels,  and 
the  subjects  represented  on  the  Bishops'  robes.  AH  these 
will  often  cast  light  upon  the  nature  of  the  subjects. 

Cross  over  the  room  to  the  opposite  «Ide  and  return  to- 
wards the  door. 

13,  Another  Franciscan  picture,  with  the  same  three 
Franciscan  saints  as  14,  reinforced  by  St.  Bernardino  of 
Siena,  once  more  bearing  his  IKS  ;  St.  Jerome,  with  his 
cardinal's  hat  and  open  book  (as  translator  of  the  Vulgate), 
and  St.  Sebastian  holding  his  arrow  and  p;ilm  of  martyrdom. 
The  last  figure  shows  the  work  to  be  probably  a  votive 
offering  for  the  plague,  painted  for  a  Franciscan  church.     It 


wm&^: 


IMAGE  EVALUATION 
TEST  TARGET  (MT-3) 


A 


5^    ./<"  i^y 


^^  '4& 


'^o 


1.0 


I.I 


!:i.25 


JMIIIM    112.5 


IIIIIM 

2.2 

la 

2.0 

^^^ 

18 

1.4 


1.6 


6" 


Photographic 

Sciences 
Corporation 


23  WEST  MAIN  STREET 

WEBSTER,  N.Y.  14580 

(716)  872-4503 


\rp'!^^r^?V'':ifTv: 


%^  C?. 


X    %     M 


# 


(A 


fA 


J 


CIHM/ICMH 

Microfiche 

Series. 


CIHM/ICMH 
Collection  de 
microfiches. 


Canadian  Institute  for  Historical  Microreproductions  /  Institut  Canadian  de  microreproductions  historlques 


f^'j^^-i'^'-.'^. 


V 


92 


FLORENCE 


tv. 


comes  from  the  Florentine  convent  of  St.  Jerome,  whence 
that  saint  is  introduced  with  the  others. 

la.  Life  of  the  Virgin.  Interesting  to  compare  with  Fra 
Angelico's  scenes  in  the  adjoining  room,  and  with  the  little 
series  of  histories  by  Giotto  to  be  noticed  later.  Contrast 
particularly  with  other  treatments  the  Flight  into  Egypt  and 
the  Adoration  of  the  Magi.  The  way  in  which  Joseph 
examines  the  Elder  King's  gift  is  highly  characteristic  The 
development  of  these  subjects  from  those  (in  fresco)  by 
Giotto  in  the  Arena  at  Padua  is  very  instructive.  Do  not 
omit  the  Madonna  ascending  above  in  a  mandorla,  with  the 
kneeling  donor,  nor  the  little  Annunciation  in  the  lozenges 
of  the  gables. 

II  has  its  saints  named.  Compare  them  with  20  just 
opposite.  You  will  thus  be  enabled  to  form  a  type  of  St. 
Julian.  The  St.  Peter  and  St.  Paul  in  the  lozenges  above 
are  also  typical.  Note  their  features.  You  will  by  this 
time  be  familiar  with  the  characteristic  faces  assigned  to  St. 
Anthony  with  his  crutch,  and  to  St.  John  Baptist.  Observe 
in  later  art  that  the  somewhat  infantile  innocence  of  St. 
Lawrence  is  preserved  but  modified. 

10.  A  Crucifixion.  Note  the  scorpion  banner,  frequent 
with  the  soldiers  who  kill  the  Redeemer,  and  identify  all  the 
personages. 

9  is  interesting  for  its  inscription,  and  its  group  of  saints, 
who  are  excellent  types  of  their  personages- -Nicholas  of 
Bari,  Bartholomew,  San  Firenze  (a  local  Bishop),  and  St. 
Luke.  It  comes  from  the  church  of  San  Firenze  in 
Florence,  which  is  why  that  saint  is  so  prominent. 

8,  by  Ugolino  da  Siena,  should  be  compared  with  the  twc 
works  on  the  same  subject  (Coronation  of  the  Virgin)  by 
Neri  di  Bicci.  In  the  great  group  of  saints  beside  it  you 
will  now  have  no  difficulty  in  distinguishing,  to  the  L,  St 
Peter  Martyr  with  his  wounded  head,  in  Domiiiican  robes  ; 
St.  Paul,  with  his  sword  ;  St.  Bartholomew,  with  his  knife  ; 
to  the  R,  St.  Peter,  with  the  keys ;  St.  John  Baptist ;  St. 
Dominic,  with  his  lily  ;  and  St.  Thomas  Aquina*,  with  his 
ray-bearing  book.    Notice  that  this  is  therefore  a  Domini- 


m 
] 

i 

] 


[V. 

■  St.  Jerome,  whence 

;o  compare  with  Fra 
n,  and  with  the  little 
iced  later.  Contrast 
light  into  Egypt  and 
ly  in  which  Joseph 
^  characteristic.  The 
those  (in  fresco)  by 
instructive.  Do  not 
a  mandorla,  with  the 
ation  in  the  lozenges 

!  them  with  20  just 
.0  form  a  type  of  St. 
1  the  lozenges  above 
>.  You  will  by  this 
faces  assigned  to  St. 
m  Baptist.  Observe 
:ile  innocence  of  St. 

ion  banner,  frequent 
r,  and  identify  all  the 

1  its  group  of  saints, 
lonages- -Nicholas  of 
ical  Bishop),  and  St. 

of   San    Firenze   in 
prominent, 
mpared  with  the  twc 
on  of  the  Virgin)  by 

saints  beside  it  you 
lishing,  to  the  L,  St. 
in  Dominican  robes ; 
imew,  with  his  knife  ; 
at.  John  Baptist ;  St. 
las  Aquinav,  with  his 
i  therefore  a  Domini- 


v.] 


THE  BELLE  ART  I 


93 


can  work.  As  a  matter  of  fact,  it  long  occupied  the  High 
Altar  of  Santa  Maria  Novella  :  which  shows  how  important 
it  is  to  understand  the  origin  of  a  picture.  You  can  now 
see  why  the  Virgin  is  there  (the  church  being  hers) ;  and 
why  the  Dominicans  and  St.  John  Baptist  accompany 
her.  A  little  inspection  will  also  enable  you  to  identify 
many  other  figures,  such  as  that  of  St.  Gregory  the  Pope 
(behind  Peter  and  John),  with  th&  Spirit  as  a  dove  whisper- 
ing in  his  ear,  as  always.  Remember  each  saint  you 
identify,  and  use  him  for  later  identifications. 

In  7  you  will  have  no  difficulty  in  distinguishing  Gt. 
Lawrence,  St.  Sebastian,  St.  James,  St.  John,  etc.  The 
gradino  has  subjects  from  th3  legend  of  Joachim  and  the 
Madonna — her  birth,  Presentation  in  the  Temple,  Sposalizio, 
etc.,  with  which  the  frescoes  in  Santa  Croce  will  have  famili- 
arized you. 

6  contains  a  version  of  the  frequent  subject  of  the  Virgin 
ascending  to  heaven  and  dropping  her  girdle,  the  Sacra 
Cintola,  to  St.  Thomas,  many  variants  upon  which  will  occur 
in  other  rooms  in  this  gallery.  As  the  girdle  was  preserved 
at  Prato,  this  was  a  common  theme  in  this  district. 

5  contains  another  Annunciation,  where  all  the  adjuncts 
are  extremely  typical.  Observe  the  quaint  figure  of  St. 
Luke  painting  the  Madonna.  In  the  other  saint  you  will 
recognise  St.  Apollonia. 

4  is  a  somewhat  unusual  type  of  Presentation,  with  a  good 
characteristic  figure  of  St.  Benedict.  If  you  can  read  Latin, 
make  out  the  inscription  on  this  and  other  pictures.  They 
often  help  you. 

I  cannot  too  strongly  recommend  close  study  of  these 
superficially  unattractive  pictures,  which,  nevertheless,  con- 
tain the  germ  of  all  that  comes  after  in  Tuscan  and  Umbrian 
art.  Go  over  them  again  and  again,  till  you  are  sure  you 
understand  every  figure.  I  would  advise  you  to  get  the 
official  catalogue,  and  ncte  in  every  case  whence  the  picture 
comes,  as  well  as  why  the  various  saints  are  in  it. 

Now  pass  straight  along  this  entrance  hall  till  you  reach 


94 


FLORENCE 


[V. 


The  Cupola, 
with  the  **David  of  Michael  Angelo  transferred  to  this 
place  from  the  door  of  the  Palazzo  Vecchio.  This  famous 
statue,  the  first  great  work  in  sculpture  of  the  artist,  was 
modelled  out  of  a  block  of  marble  which  had  been  spoiled 
and  abandoned.  (Read  the  good  remarks  on  the  subject  in 
Baedeker.)  In  this  youthful  effort  Michael  Angelo  bhows 
more  poetry,  and  less  of  his  rugged  massiveness,  than  in  his 
later  work.  Both  in  painting  and  sculpture  he  is  more 
attractive,  indeed,  in  his  treatment  of  the  youthful  nude 
male  form  than  in  his  women  or  his  elder  men  and  draped 
figures.    Remember  that  this  is  a  great  masterpiece. 

Adjoining  the  David  are  a  collection  of  casts  of  all  the 
plastic  work  of  Michael  Angelo.  Taking  this  room  in  con- 
nection with  the  Medici  tombs  in  the  Nuova  Sagrestia  at 
San  Lorenzo,  you  get  a  better  opportunity  of  studying 
Michael  Angelo's  work  as  a  sculptor  than  can  possibly  be 
attained  anywhere  else.  As,  however,  these  works  require 
merely  a  general  taste  for  sculpture,  and  close  observation  and 
comparison  on  the  part  of  the  visitor,  for  their  proper  apprecia- 
tion, they  do  not  enter  into  the  special  scheme  of  this  work, 
which  is  purely  explanatory.  I  recommend  long  and  atten- 
tive scrutiny  of  all,  with  the  aid  of  such  critical  remarks  as 
are  to  be  found  in  the  various  valuable  books  on  the  subject 
of  Michael  Angelo  by  English  and  German  critics  (Springer, 
Symonds,  etc.).  Do  not  study  the  sculpture  at  the  same 
visit  with  the  pictures.  Go  to  San  Lorenzo  on  a  separate 
day,  and  then  come  back  here  more  than  once  for  compari- 
son. 

Pass  abng  the  corridor  containing  the  casts,  and  enter  the 
first  door  on  the  L,  which  leads  to  the 

Sala  del  Perugino. 

This  room  and  the  two  adjoining  ones  contain  the  noblest 
and  most  beautiful  pictures  of  the  Florentine  Renaissance. 
Strictly  speaking,  in  order  to  preserve  the  chronological 
order,  you  ought  to  go  first  to  the  Sala  dei  Maestri  Toscani : 
but  as  you  must  return  to  the  Academy  many  times,  it  will 
do  you  no  harm  to  begin  in  this  manner. 


[V. 


transferred  to  this 
icchio.  This  famous 
ire  of  the  artist,  was 
ch  had  been  spoiled 
irks  on  the  subject  in 
ichael  Angelo  !>hows 
ssiveness,  than  in  his 
:ulpture  he  is  more 
<{  the  youthful  nude 
Ider  men  and  draped 
t  masterpiece. 
n  of  casts  of  ali  the 
ng  this  room  in  con- 
;  Nuova  Sagrestia  at 
3rtunity  of  studying 
han  can  possibly  be 

these  works  require 
close  observation  and 
their  proper  apprecia- 
scheme  of  this  work, 
nend  long  and  atten- 
:h  critical  remarks  as 
books  on  the  subject 
man  critics  (Springer, 
:ulpture  at  the  same 
>renzo  on  a  separate 
an  once  for  compari- 

e  casts,  and  enter  the 

fO. 

;s  contain  the  noblest 
rentine  Renaissance, 
re  the  chronological 
dei  Maestri  Toscani : 
y  many  times,  it  will 


,,,.M2g»m 


v.] 


THE  BELLE  ARTI 


95 


To  the  R  of  the  doorway  is  **  57,  a  very  noble  Perugino, 
representing  the  Assumption  of  the  Virgin,  in  a  mandorla, 
surrounded  by  a  group  of  cherubs  in  the  same  shape.  Her 
attitude,  features,  and  expression  of  ecstatic  adoration,  as  well 
as  the  somewhat  affected  pose  of  her  neck  and  hands,  are  all 
extremely  characteristic  of  Perugino.  So  are  the  surround- 
ing groups  of  standing  and  flying  angels  ;  the  angel  immedi- 
ately to  the  spectator's  L  of  the  Madonna  has  also  the 
characteristic  poise  of  the  head.  Above  is  the  Eternal 
Father,  in  a  circle,  with  adoring  angels.  Below  stand  four 
Vallombrosan  saints,  as  spectators  of  the  mystery:  (the 
picture  comes  from  the  great  suppressed  monastery  of 
Vallombrosa).  You  v  .1  grow  familiar  with  this  group  in 
many  other  parts  of  the  gallery,  as  most  of  the  pictures  were 
brought  here  at  the  suppression.  The  saints  are,  San 
Bernardo  degli  Uberti  (in  cardinal's  robes) :  San  Giovanni 
Gualberto  (the  founder) :  St.  Benedic;  (in  brown) :  and  the 
Archangel  Michael.  Note  their  features,  x^he  figure  of 
St.  Michael,  in  particular,  may  be  well  compared  with  the 
other  exquisite  St.  Michael,  also  by  Perugino,  from  the 
great  altar-piece  in  the  Certosa  di  Pavia,  now  in  the  National 
Gallery  in  London.  This  Assumption  is  one  of  Perugino'c 
finest  and  most  characteristic  works.  It  deserves  long  and 
attentive  study.  Such  compositions,  with  a  heavenly  and 
earthly  scene  combined,  are  great  favourites  with  Umbrian 
painters.  (See  them  at  Perugia,  and  in  Raphael's  Disputk  in 
the  Vatican.)  Do  not  fail  to  potice  the  beautiful  landscape 
background  of  the  country  about  Perugia.  Study  this  work 
as  a  model  of  Perugino  at  his  best. 

L  wall,  56,  *  Perugino,  the  Descent  from  the  Cross,  a 
beautiful  composition.  The  scene  takes  place  in  character- 
istic Renaissance  architecture.  The  anatomy  and  painting 
of  the  dead  nude  are  worthy  of  notice.  Observe  the  way  in 
which  the  Madonna's  face  and  head  stand  out  kgainst  the 
arch  in  the  background,  as  well  as  the  somewhat  affected 
pietism  of  all  the  actors.  R,  the  Magdalen  and  Joseph  of 
Arimathea ;  L,  St.  John  and  Nicodemus.  Notice  their 
types. 


_;J- 


M»i 


96 


FLORENCE 


[V. 


Beyond  the  door,  53,  Perugino,  the  Agony  in  the  Garden. 
The  attitudes  of  the  Saviour  and  the  three  sleeping  apostles 
are  traditional.  Lookout  for  them  elsewhere.  The  groups  of 
soldiers  in  the  background  are  highly  redolent  of  Perugino's 
manner.  So  is  the  charming  landscape.  Compare  this 
angel  with  those  in  the  Vallombrosan  picture  first  noted  in 
this  room.  Observe  Perugino's  quaint  taste  in  head-dresses. 
Also,  throughout,  here  and  in  the  Assumption,  the  Umbrian 
isolation  and  abstractness  of  his  figures. 

Above,  on  this  wall.*  55.  Fra  Filir  po  Lippi,  a  very  charac- 
teristic Madonna  and  Child  enthroned.  The  Medici  samts, 
Cosmo  and  Damian,  in  their  red  robes,  and  two  holy  Fran- 
ciscans, St.  Francis  and  St.  Antony  of  Padua,  stand  by. 
The  faces  and  dres=es  of  the  Medici  saints  are  typical.  The 
Madonna  belongs  to  the  human  and  somewhat  round-faced 
type  introduced  into  Tuscan  art  by  Filippo  Lippi.  Note,  in 
the  arcaded  niches  at  the  back,  a  faint  reminiscence  of  the 
older  method  of  painting  the  saints  in  separate  compart- 
ments. This  is  a  lovely  picture  ;  do  not  hurry  away  from  it- 
It  comes,  you  might  guess,  from  a  Franciscan  monastery— 
namely,  Santa  Croce.  I  took  you  first  to  that  church  and 
Santa  Maria  in  order  that  such  facts  might  be  the  more 
significant  to  you. 

54,  Fra  Filif>po  Lippi,  St.  Jerome  in  the  desert,  with  his 
lion  in  the  background,  and  his  cardinal's  hat  and  crucifix. 
The  impossible  rocks  smack  of  the  period.  This  is  a  tra- 
ditional subject  which  you  will  often  meet  with.  Don't 
overlook  the  books  and  pen  which  constantly  mark  the 
translator  of  the  Vulgate. 

52,  Cosimo  Rosselli,  St  Barbara.  A  curious  but  character- 
istic example  of  this  harsh  though  very  powerful  painter. 
In  the  centre  stands  St  Barbara  herself,  with  her  tower  and 
palm  of  martyrdom,  as  if  just  rising  from  the  throne  on 
which  she  had  been  sitting.  Beneath  her  feet  is  a  fallen 
armed  figure,  sometimes  interpreted  as  her  father,  some- 
times as  the  heathen  proconsul,  Marcian,  who  ordered  her 
execution.  The  picture,  however,  as  the  Latin  elegiac  be- 
neath it  relates,  was  painted  for   the  German  Guild  of 


[t. 

ny  in  the  Garden. 
5  sleeping  apostles 
re.  The  gioups  of 
(lent  of  Perugino's 
5.  Compare  this 
ture  first  noted  in 
te  in  head-dresses, 
tion,  the  Umbrian 

ppi,  a  very  charac- 
rhe  Medici  saints, 
nd  two  holy  Fran- 
Padua,  stand  by. 
i  are  typical.  The 
:what  round-faced 
10  Lippi.  Note,  in 
iminiscence  of  the 
separate  compart- 
lurry  away  from  it- 
iscan  monastery — 
o  that  church  and 
night  be  the  more 

he  desert,  with  his 
s  hat  and  crucifix, 
od.  This  is  a  tra- 
iieet  with.  Don't 
nstantly  mark  the 

rious  but  character- 
y  powerful  painter, 
with  her  tower  and 
irom  the  throne  on 
her  feet  is  a  fallen 
s  her  father,  some- 
in,  who  ordered  her 
e  Latin  elegiac  be- 
German  Guild  of 


v.] 


THE  BELLE  ART  I 


97 


Florence.  Now,  St.  Barbara  was  the  patroness  of  artillery 
(the  beautiful  Palma  Vecchio  of  St.  Barbara  at  Venice  was 
painted  for  the  Venetian  Guild  of  Bombardiers) :  I  take  the 
figure  on  whom  she  tramples,  therefore,  though  undoubtedly 
an  emperor  in  arms,  to  be  mainly  symbolical  of  the  fallen 
enemy.  In  short,  the  picture  is  a  Triumph  of  Artillery. 
To  the  L  stands  the  St.  John  of  Florence  :  to  the  R,  St. 
Mathias  the  Apostle,  with  his  sword  of  martyrdom.  Two 
charming  angels  draw  aside  the  curtains :  a  frequent  fea- 
.  re.  Study  this  as  a  typical  example  of  Cosimo  Rosselli. 
It  comes  from  the  Florentine  Church  of  the  Annunziata. 

R  wall,  near  the  window,  *  66,  Ghirlandajo,  a  Madonna 
and  Child,  enthroned :  in  reality  a  Glorification  of  the 
Angels.  (It  must  have  come,  I  think,  from  some  church 
degli  Angeli.)  To  the  L  stands  St.  Dionysius  the  Areopagite, 
who  was  said  to  have  written  a  treatise  (still  existing)  on 
the  angelic  hierarchy  (drawn  from  Hebrew  sources).  Kneel- 
ing at  the  feet  is  his  spiritual  father,  St.  Clement  the  Pope, 
as  a  secondary  personage.  To  the  R,  St.  Thomas  Aquinas, 
in  his  Dominican  robes  and  with  his  open  book,  as  the  great 
vindicator  of  the  position  of  the  angels.  Kneeling  at  the 
feet  is  his  spiritual  father,  St.  Dominic.  The  picture  was 
clearly  painted  for  the  Dominicans  :  but  the  figures  are 
placed  in  diagonal  order,  I  believe  by  some  misconception 
of  the  donor's  wishes.  Observe  that  the  angels  in  whose 
honour  this  fine  picture  is  painted  are  here,  quite  exception- 
ally, provided  with  starry  halos.  Beneath  the  main  picture, 
a  series  of  little  works  in  a  predella,  containing  stories  from 
the  lives  of  these  saints — decapitation  of  St.  Denis  (identi- 
fied with  Dionysius  the  Areopagite) :  he  carries  his  head  : 
St.  Dominic  restores  the  young  man  Napoleon  to  life,  doubly 
represented,  etc. 

6$,  p.bove.  Luca  Signorelli,  the  Madonna  embracing  the 
Cross.  A  good  sample  of  this  able  and  powerful  Renais- 
sance painter. 

Beyond  the  door,  62,**  Filippo  Lippi's  Coronation  of  the 
Virgin,  the  finest  altar-p^eix  by  this  great  master.  It  is  well 
to  compare  it  with  the  oarliei  treatments  of  the  same  subject 

G 


FV    ■ 


■■ 


pW!f 


T^^tit**? 


98 


FLORENCE 


[V 


in  the  Corridor,  from  which  it  is,  oh  I  how  much,  developed 
and  beautified.  I  will  not  attempt  any  description  of  this 
noble  and  beautiful  work,  one  of  the  masterpieces  of  early 
Italian  painting.  I  will  merely  call  attention  to  a  few  formal 
points  in  it.  Notice  first,  in  the  centre,  the  extremely  human 
Virgin,  no  longer  the  Queen  of  Heaven,  but  a  Florentine 
lady,  whose  features  reappear  again  in  the  touching  figure 
in  blue  in  the  R  foreground,  with  the  two  children  (said  to 
represent  Lucrezia  Buti,  the  painter's  wife,  and  their  two 
little  ones,  including  Filippino.  Read  up  the  romantic  story 
of  their  elopement  in  any  good  history).  On  either  side  of 
the  rone,  adoring  angels  with  sweet  childish  faces.  The 
rest  looks  confused  at  first,  but  will  gradually  unravel  itself 
into  a  celestial  and  terrestrial  scene,  with  saintly  mediators. 
To  the  extreme  R,  St.  John  of  Florence,  preserving  his 
traditional  features,  but  transformed  and  transfigured  by 
spiritual  art.  He  introduces  and  patronises  the  kneeling 
figure  of  Filippo  Lippi  beside  him,  whom  a  scroll  in  Latin 
("This  man  composed  the  work")  designates  as  the  painter. 
To  the  L,  St.  Zenobius  and  other  saints,  amongst  whom  the 
patriarch  Job  is  specially  identified  by  the  very  inartistic 
device  of  writing  his  name  on  his  shoulder.  Do  not  over- 
look the  frequent  obtrusion  of  the  Florentine  lily.  This 
picture  can  only  be  adequately  appreciated  after  n\any  visits. 
It  is  one  of  the  most  exquisite  things  to  be  seen  in  Florence. 
Very  human  in  its  models,  it  is  divine  and  spir.tual  in  its 
inner  essence. 

Above  it,  63,  a  Trinity,  in  the  conventional  form,  by 
Mariotto  Albertinelli :  good,  but  uninteresting. 

The  other  pictures  in  this  room,  including  the  fragment 
of  two  charming  little  angels  by  Andrea  del  Sarto  (from 
Vallombrosa),  though  deserving  attention,  do  not  stand  in 
need  of  interpretation.  Examine  every  one  of  them,  espe- 
cially that  attributed  to  Francia. 

Now,  enter  the  room  to  the  r,  the 

Sala  Prima  del  Botticelli. 
Facing  you  as  you  enter  is  **  80,  Botticelli's  Primavera, 


V  much,  developed 
description  of  this 
sterpieces  of  early 
ion  to  a  few  formal 
e  extremely  human 
,  but  a  Florentine 
he  touching  figure 
>  children  (said  to 
ife,  and  their  two 

the  romantic  story 
On  either  side  of 
lildish  faces.  The 
lually  unravel  itself 
I  saintly  mediators, 
ice,  preserving  his 
id  transfigured  by 
)nises  the  kneeling 
n  a  scroll  in  Latin 
ates  as  the  painter, 
amongst  whom  the 

the  very  inartistic 
der.  Do  not  over- 
rentine  lily.  This 
id  after  ntany  visits. 
De  seen  in  Florence, 
and  spir.tual  io  its 

trentional   form,  by 
ssting. 

uding  the  fragment 

ea  del  Sarto  (from 

)n,  do  not  stand  in 

one  of  them,  espe- 


(Iticelli's  Primavera, 


▼J 


THE  BELLE  ART! 


99 


perhaps  the  most  beautiful  picture  in  the  world.  This  ex- 
quisite allegory  has  been  variously  explained.  I  give  my 
own  interpretation.  It  is  probably  on<^  of  four  panels  re- 
presenting the  seasons.  In  the  centre  stands  the  figure  of 
Spring,  who  is  therefore  significantly  painted  as  pregnant. 
To  the  extreme  L,  Mercury,  the  god  of  change,  with  his 
caduceus,  dispels  the  clouds  of  winter.  (Perhaps  rather 
Favonius,  the  west  wind,  in  the  guise  of  Mercury.)  Beside 
him,  an  unspeakably  beautiful  group  of  the  Three  Graces, 
lightly  clad  in  transparent  raiment,  represent  the  joy  and 
freshness  of  spring-tnnc :  on  whom  a  winged  and  blind- 
folded Love,  above  the  head  of  Primavera,  is  discharging  a 
fiery  arrow — since  spring  is  the  period  of  courtship  and 
mating.  The  figures  to  the  R  represent  the  three  spring 
months.  Extreme  R,  March,  cold  and  blue,  blowing  wind 
from  his  mouth  (notice  the  rays),  lightly  clad,  and  swaying 
the  trees  as  he  passes  through  them.  Next  to  him,  as  if 
half  escaping  from  his  grasp,  April,  somewhat  more  fully 
draped  in  a  blue  and  white  sky.  On  the  hem  of  her  robe 
green  things  are  just  sprouting.  She  seems  as  if  precipi- 
tating herself  into  the  lap  of  May,  who,  erect  and  sedate, 
fully  clad  in  a  flowery  robe,  scatters  blossoms  as  she  goes 
from  a  fold  of  her  garment.  March  blows  on  April's  mouth, 
from  which  flowers  fall  into  the  lap  of  May.  The  obvious 
meaning  is  "March  winds  and  April  showers  bring  forth 
May  flowers,"— a  Tuscan  equivalent  for  which  proverb  still 
exists  in  Italy.  The  action  cf  March's  hands  probably 
represents  the  old  idea  that  he  borrows  three  days  from 
April.  I  will  not  attempt  to  say  anything  about  the  aesthetic 
beauty  of  this  exquisitely  spiritual  and  delicate  work.  It  is 
one  of  those  profound  pictures  which  must  be  visited  again 
and  again,  and  which  gain  in  intensity  every  time  you  look 
at  them.  As  to  place,  it  was  painted  for  Lorenzo  de*  Me- 
dici's villa  at  Castello :  notice  it  as  one  of  the  first  purely 
secular  paintings,  with  Renaissance  love  of  the  nude,  which 
we  have  yet  come  across. 

To  the  L  of  it,  *  8i,  Pacchiarotto,  Visitation.    The  central 
part  of  the  picture  should  be  compared  with  the  Mariotto 


m 


100 


FLORENCE 


{r. 


Albertinelli  in  the  Uffizi.  The  arrangement  of  the  figurei 
and  the  way  they  are  silhouetted  against  the  arch  is  almost 
identical.  It  should  also  be  compared  with  the  dhirlandajo 
in  the  Louvre  (where  the  .irst  use  of  the  arch  in  this  way 
occurs)  and  other  examples,  such  as  the  Giotto  at  Padua. 
This,  however,  is  not  a  Visitation  simple,  but  a  Visitation 
with  attendant  saints,  amongst  whom  to  the  L  stands  St. 
John  Baptist.  He,  of  course,  could  not  possibly  have  been 
present  at  the  moment,  as  he  was  still  unborn— thus  well 
showing  the  nature  of  these  representative  gatherings. 
Kneeling  in  the  foreground  to  the  R  is  St.  Vincent,  the 
patron  saint  of  prisoners,  holding  handcuffs,  whence  it  is 
probable  that  the  picture  was  a  votive  offering  for  a  release 
from  Barbary  pirates  or  some  foi  m  of  captivity.  Behind  is 
St.  Nicolas  of  Bari,  with  his  three  golden  balls.  The  other 
laints  are  the  two  St.  Antonies — the  Abbot,  and  the 
Paduan  :  note  their  symbols.  Most  probably  the  donor 
was  an  yVntonio  who  wished  to  stand  well  with  both  his 
patrons.  The  architecture  of  the  triumphal  arch  shows 
study  of  the  antique.  The  bronze  horses  are  suggested  by 
those  over  the  doorway  of  St.  Mark's  at  Venice.  Note  the 
dove  brooding  above  the  picture.  The  technique  of  this 
somewhat  hard  and  dry  but  admirable  and  well-painted 
work  deserves  close  attention.  I  have  entered  at  length 
into  the  evolution  of  Visitations  in  one  of  my  papers  in  the 
Pall  Mall  Magasine. 

Below  it,  82,  Fra  Filippo  Lippi,  a  Nativity.  Good  and 
cnaracteristic.  Note  the  ruined  temple,  ox  and  ass,  etc.,  as 
well  as  Lippi's  nascent  endeavour  to  overcome  the  difficulty 
of  placing  the  attendant  saints,  well  shown  in  the  figure  of  the 
Magdalen  to  the  R  of  Our  Lady.  He  is  striving  hard  after 
naturalistic  positions.  The  infant,  of  course,  is  Lippi  all 
over.  Beneath  the  St.  Jerome,  observe  the  figure  of  the 
kneeling  St.  Hilarion,  doubtless  the  name  saint  of  the  donor. 
The  whole  of  this  quaint  work  is  highly  interesting  as 
exhibiting  the  conscious  effort  after  greater  freedom,  not  yet 
wholly  successful. 
79,  opposite,  Fra  Filippo  Lippi,  The  Virgin  adoring  the 


«,,»,»-  ,'../.»^.  Mi.it^  ..«..i.i»».ii«. 


"IfifW^ 


ir. 

nt  of  the  figures 
le  arch  is  almost 
>  the  Cihirlandajo 
arch  in  this  way 
Giotto  at  Padua, 
but  a  Visitation 
the  L  stands  St. 
ssibly  have  b«en 
nborn— thus  wcU 
Hive  gatherings. 
St.  Vincent,  the 
ifls,  whence  it  is 
ring  for  a  release 
livity.  Behind  is 
balls.  The  other 
Abbot,  and  the 
tbably  the  donor 
rell  with  both  his 
phal  arch  shows 
are  suggested  by 
Venice.  Note  the 
technique  of  this 
and  well-painted 
entered  at  length 
my  papers  in  the 

tivity.  Good  and 
X  and  ass,  etc.,  as 
:ome  the  difficulty 
in  the  figure  of  the 
triving  hard  after 
lurse,  is  Lippi  all 
the  figure  of  the 
saint  of  the  donor. 
i!y  interesting  as 
:r  freedom,  not  yet 

^irgin  adoring  the 


V.J 


THE   BELLE   ART  I 


lOI 


Child.  A  very  similar  picture.  It  should  be  closely  com- 
pared with  the  preceding.  The  hands  of  God  a^tpcaring 
through  the  clouds,  diicha.'^ing  the  Holy  Spirit,  are  an 
interesting  feature.  Note  again  the  attempt  to  introduce 
the  youthful  St.  John  Baptist  of  Florence  in  a  more  natural 
manner  Compare  with  the  great  Coronation  of  the  Virgin. 
From  about  this  time,  too.  Renaissance  feeling  makes  the 
young  St.  John  (more  or  less  nude)  tend  to  supersede  the 
adult  representation.  Study  these  two  pictures  carefully. 
The  saint  in  white  is  St.  Romuald,  the  founder  of  the  Carnal- 
dolese  :  this  aicar-piece  comes  from  Camaldoli. 

78.  Perugino.  Crucifixion,  with  the  Madonna  and  St. 
Jerome,  the  latter  attended  (as  usual)  by  his  lion.  Our 
Lady  is  a  good  figure,  but  the  rest  of  the  picture  is  unworthy 
of  Perugino.  It  comes  from  the  monastery  of  St.  Jerome  in 
Florence — whence  the  saint. 

76  Andrea  del  Sarto.  Four  Vallombrosan  saints,  origin- 
ally painted  on  either  side  of  an  adored  Virgin,  much  older. 
To  the  L  St.  Michael ;  observe  the  exquisite  painting  of  his 
robe  and  armour.  The  other  saints  are  San  Giovanni 
Gualberto  (the  founder)  ;  San  Bernardo  degli  Uberti  ;  and 
St.  John  Baptist.  Compare  them  with  the  group  of  similar 
saints  in  Perugino's  Assumption.  Both  for  character  and 
technique  such  comparison  is  most  luminous. 

73.  Botticelli,  Coronation  of  the  Virgin  (from  the  monastery 
of  San  Marco).  The  main  subject  of  this  vehement  work 
should  be  compared  (or  rather  contrasted)  with  the  early 
Giottesque  examples.  The  beautiful  and  rapturous  flying 
angels  are  highly  characteristic  of  Botticelli's  ecstatic  con- 
ception. Observe  the  papal  tiara  worn  by  the  Father.  In 
the  earthly  scene  below  are  four  miscellaneous  saints  observ- 
ing the  mystery  :  I  do  not  understand  the  principle  of  their 
selection.  They  are,  St.  John  the  Evangelist,  St.  Augustine, 
St.  Jerome,  and  St.  Eloy  (Eligius)  the  holy  blacksmith. 
Look  for  the  last,  again,  on  Or  San  Michele,  where  one  of 
his  miracles  is  recorded  in  bas-relief  under  his  statue, 
where  he  is  similarly  represented  in  his  blacksmith's  forge  in 
the  predella.     See  Mrs.  Jameson. 


•tt-JM 


loa 


FLORENCE 


tt. 


R  of  it  •  Verrocdiio'd  Hapti^m,  perhaps  the  most  famous 
example  of  this  well-known  subject.  Somewhat  hard  and 
dry,  with  peasant-like  ascetic  features,  the  St.  John  is  yet  a 
noble  figure,  veiy  well  painted,  with  excellent  anatomical 
knowledge.  His  position,  as  well  as  the  cup  which  he  raises 
and  the  cross  which  he  holds,  are  strictly  conventional  : 
they  may  be  seen  in  many  earlier  examples.  So  also  is  the 
course  of  the  narrow  and  symbolical  Jordan.  The  angels  on 
the  bank,  replacing  the  earlier  river-god  of  the  Ravenna 
mosaics,  and  holding  the  conventional  towel,  arc  extremely 
beautiful.  The  softer  and  more  delicately  touched  of  the 
pair,  to  the  I^  is  said  to  have  been  painted  in  by  Leonardo  (a 
pupil  of  Verrocchio) :  and  indeed  it  seems  to  bear  the 
impress  of  that  great  painter's  youthful  manner.  Do  not 
overlook  the  hands  disc'aarging  the  dove.  I  have  treated 
more  fully  the  evolution  of  this  subject  in  an  article  on  The 
Painter's  Jordan  in  the  English  lUmtrated  Magazine. 

70,  Masaccio.  A  very  inadequate  specimen  of  this  great 
painter.  The  Madonna  and  Child  sit  on  the  lap  of  St. 
Anne,  a  conventional  position  charmingly  transformed  by 
Leonardo  in  his  welUknown  picture  in  the  Louvre. 

On  the  base  of  this  wall  are  several  small  stories  of  saints, 
which  should  be  studied  in  detail.  Among  those  by  Botti- 
celli (already  referred  to),  notice  particularly  St.  Eloy  (St. 
Eligius),  the  holy  blacksmith,  cutting  oflf  the  leg  of  a  refrac- 
tory horse,  in  order  to  shoe  it,  and  afterwards  miraculously 
restoring  it :  compare  with  the  same  subject  at  Or  San 
Michele.  Close  by  are  a  very  charming  series  by  Pesellino, 
the  best  of  which  is  the  Martyrdom  of  the  Medici  saints, 
Cosmo  and  Damian.  Observe  them  for  comparison  with  Fra 
Angelico  in  an  adjoining  room  :  read  up  in  Mrs.  Jameson, 

69,  Michele  Ghirlandajo  (do  not  confound  him  with  his 
great  namesake).  Marriage  of  St.  Catherine  of  Siena  (not 
Alexandria).  Distinguish  these  two  subjects.  This  is  an 
unusual  treatment,  the  Christ  being  represented  as  adult 
(He  is  usually  an  infant  in  this  scene)  and  the  Madonna 
as  an  elderly  woman.  Not  a  good  picture,  but  interesting 
for  comparison  wtth  others  of  this  subject.    The  assistant 


the  most  famous 
tewhat  hard  and 
St.  John  is  yet  a 
llent  anatomical 
p  which  he  raises 
ly  conventional  : 
s.  So  also  is  the 
.  The  angels  on 
of  the  Ravenna 
rel,  aie  extremely 

Y  touched  of  the 
in  by  Leonardo  (a 
:iTis  ic  bear  the 
nanner.      Do  not 

I  have  treated 
m  article  on  The 
'  lifagaaine, 
men  of  this  great 
in  the  lap  of  St. 

Y  transformed  by 
Louvre. 

II  sf^ries  of  saints, 
ig  those  by  Botti- 
irly  St.  Eloy  (St. 
he  leg  of  a  refrac- 
ards  miraculously 
ubject  at  Or  San 
eries  by  Pesellino, 
:he  Medici  saints, 
mparison  with  Fra 
[1  Mrs.  Jameson, 
und  him  with  his 
•ine  of  Siena  (not 
ijects.  This  is  an 
(resented  as  adult 
and  the  Madonna 
ire,  but  interesting 
ct.    The  assistant 


V.J 


THE  BELLE  ART I 


103 


saints  are  St.  Paul,  King  David,  St.  John,  and  St.  Dominic. 
The  insipid  St.  Catherine  contrasts  most  markedly  with  the 
inimitably  beautiful  figure  by  Uorgognone  in  the  National 
Gallery.  The  picture  comes  from  the  Dominican  convent 
of  Santa  Caterina  at  Florence,  which  explains  all  the 
characters. 

Beyond  the  door,  Granacci,  the  Assumption  of  the  Virgin, 
an  unusually  fine  specimen  of  this  comparatively  late  painter. 
On  the  ground  below,  St.  Hcrnurdo  degli  (Jberti,  St. 
Michael  the  Archangel,  San  Giovanni  Gualberto,  and  St. 
Catherine  of  Alexandria  with  her  spiked  wheel.  You  will 
now  have  little  difliculty  in  discovering  for  yourself  that  this 
is  essentially  a  Vallombrosan  picture.  It  comes  from  the 
monastery  of  Santo  Spirito. 

Recross  the  Perugino  Room  and  enter  the 

■     v-r   '     Sala  Seconda  pel  Botticeu-I.  '   ' 

Entrance  wall,  to  the  L,  98,  a  *  Descent  from  the  Cross, 
the  upper  portion  by  Filippino  Lippi,  with  whose  style  you 
will  already  have  become  familiar  at  Santa  Maria  Novella. 
Filippino  died,  leaving  it  unfinished  ;  and  the  lower  part, 
with  the  fainting  Madonna  and  saints,  was  add^';d  by  Peru- 
gino. This  is  an  e.xcellent  opportunity  for  comparing  the 
styles  of  the  two  painters.  The  Mary  to  the  R,  supporting 
the  Madonna,  is  extremely  Peruginesque  in  face  and  atti< 
tude.  Note  the  three  nails  in  the  foreground,  which  recur 
elsewhere.  Compare  also  the  kneeling  Magdalen  with  Fra 
Angelico  at  San  Marco.  Observe  how  differently  hands 
and  feet  are  by  this  time  painted.  In  both  parts  of  this 
picture  we  have  good  examples  of  the  increased  knowledge 
of  anatomy,  of  the  nude,  of  perspective,  and  of  light  and 
shade  in  the  later  Renaissance.  Filippino's  somewhat  fly- 
away style  is  also  well  contrasted  with  Perugino's  affectation 
and  pietistic  simplicity. 

Beyond  the  doorway,  97,  Fra  Bartolommeo,  the  Madonna 
Appearing  to  St.  Bernard.  A  characteristic  example  of  this, 
to  my  mind,  overrated  painter.  The  crowded  arrangement 
of  the  attendant  angels  is  very  typical.    Compare  with  the 


8sii%3fajw^s^&,(fa.i**>i«iii,»"  «4^4'.,&  ^ 


104 


FLORENCE 


(V 


f 


infinitely  nobler  treatment  of  the  same  subject  by  Filippino 
Lippi  in  the  church  of  the  Badia.  I  advise  you  to  go 
straight  thtre  from  this  picture  to  visit  it. 

Above  it,  96,  a  good  Andrea  del  Sarto,  charmingly  deli- 
cate in  colouring.  A  Vallombrosan  picture  :  the  saints  are 
again  San  Giovanni  Gualberto  and  San  Bernardo  degli 
Uberti. 

94.  Lorenzo  di  Credi,  Nativity,  with  adoring  angels. 
Compare  this  with  92  beside  it.  Adoration  of  the  Magi, 
where  the  Child  is  almost  identical.  This  exquisite  painter 
is  somewhat  less  successful  in  works  on  this  larger  scale 
than  in  the  smaller  examples  of  his  art  which  we  shall  see 
at  the  Uffizi,  Nevertheless,  in  92,  the  shepherd  to  the  L  is 
a  most  charming  figure.  The  smoothness  and  clearness  of 
thfc  style  is  conspicuous.  Note  throughout  the  conventional 
accessories.  Nothing  is  more  interesting  than  to  ree  the 
way  in  which  these  and  the  landscape  are  transformed  and 
improved  from  earlier  usage.  St.  Joseph's  feet  are  deserv- 
ing of  study. 

Above,  two  ascetic  Andrea  del  Castagnos.  Of  these,  the 
companion  figures  of  St.  John  Baptist  and  St.  Mary  Magda- 
len, (also  combined  in  the  Baptistery,)  must  be  regarded 
from  the  point  of  view  of  the  lean  and  hungry  pentitent  only. 
These  pictures  are  good  because  they  attain  their  object : 
they  are  expressions  of  a  painful  and  repulsive  ideal. 

90.  Raffaellino  del  Garbo,  Resurrection,  with  sleeping 
Roman  soldiers.  Worthy  of  attention  for  its  conventional 
detail. 

88.  Botticelli,  Madonna  and  saints.  A  Franciscan  Medici 
picture.  To  the  extreme  l,  St.  Mary  Magdalen  with  the 
alabaster  box  of  ointmeiit  Next  her,  St.  John  of  Florence . 
Then,  the  kneeling  figures  of  Sts.  Cosmo  and  Damian,  the 
former  significantly  placed  on  the  Madonna's  R.  Beyond, 
again,  St.  Francis  with  the  Stigmata,  and  St.  Catherine  of 
Alexandria  with  her  wheel.  The  two  female  saints  and  the 
face  of  St.  Damian  are  very  characteristic  ot  Botticelli's 
manner.    A  beautiful  but  not  wholly  satisfactory  example. 

85.  *  Botticelli,  Enthroned  Madonna,  .vith  adoring  saints. 


(V 

subject  by  Filippino 
[  advise  you  to  go 

rto,  charmingly  deli- 
ture  :  the  saints  are 
Jan  Bernardo  degli 

th  adoring  angels, 
ration  of  the  Magi, 
his  exquisite  painter 
on  this  larger  scale 
which  we  shall  see 
shepherd  to  the  L  is 
ess  and  clearness  of 
out  the  conventional 
:ing  than  to  ree  the 
are  transformed  and 
ph's  feet  are  deserv- 

gnos.  Of  these,  the 
nd  St.  Mary  Magda- 
,)  must  be  regarded 
lungry  pentitent  only. 
'  attain  their  object : 
palsive  ideal, 
ction,  with  sleeping 
for  its  conventional 

A  Franciscan  Medici 
Magdplen  with  the 
St.  John  of  Florence 
tio  and  Damian,  the 
lonna's  R.  Beyond, 
and  St.  Catherine  of 
female  saints  and  the 
eristic  ol  Botticelli's 
itisfactory  example. 
,  .vith  adoring  saints. 


v.] 


THE  BELLE  ARTI 


105 


Our  Lady  and  the  Child  are  highly  characteristic.  The 
angels  drawing  the  curtains  and  holding  the  crown  of  thorns 
and  three  nails  appear  to  be  portraits  of  Medici  children. 
They  are  very  lovely.  The  female  saint  to  the  L,  whom 
I  take  to  be  St.  Catherine,  is  the  familiar  mod<  '■.  reappearing 
in  the  Three  Graces  of  the  Primavera.  St.  John  of  Florence, 
in  the  foreground,  admirably  represents  Botticelli's  ideal. 
The  St.  Michael  beside  him,  in  refulgent  armour,  is  also 
a  beautiful  embodiment.  The  other  saints  are  St.  Ambrose 
and  St.  Barnabas— the  latter  because  the  altar-piece  was 
painted  for  the  altar  of  his  church  in  Florence.  A  picture 
not  to  be  lightly  passed  over. 

84.  Botticelli :  (the  ascription  is  doubted,  I  think 
unduly.  Comparison  of  these  two  St.  Michaels  ought 
surely  to  satisfy  the  most  sceptical.)  The  Three  Arch- 
angels conducting  Tobias,  who  holds  the  fish  which  is  to 
cure  his  father  Tobit.  Such  pictures  are  often  votive  offer- 
ings for  escape  from  blindness.  (Read  the  story  in  the 
Apocrypha.)  The  springy  step  of  all  the  characters  is 
essentially  Botticellian.  Notice  the  contrasted  faces  of  the 
elder  St.  Michael ;  the  affable  Archangel,  Raphael,  who 
holds  the  boy's  hand ;  and  the  spiritual  Gabriel,  with  the 
Annunciation  lily.  Study  these  three  Archangels  closely. 
I  advise  you  to  compare  all  these  Botticellis,  noticing  par- 
ticularly the  peculiar  sense  of  movement,  the  tripping  grace 
and  lightness  of  his  figures,  as  well  as  the  spiritual  and 
elusive  tone  of  his  somewhat  morbid  faces.  Botticelli  paints 
souls,  where  Ghirlandajo  paints  bodies. 

(You  cannot  spend  too  much  time  in  these  three  rooms, 
which  form  a  perfect  history  of  the  art  of  the  Renaissance. 
Supplement  them  by  visits  to  the  Brancacci  Chapel  at  the 
Carmine,  and  a  run  over  to  Prato,  where  you  will  find  the 
finest  woriis  of  Filippo  Lippi.) 

Now,  go  along  the  Michael  Angelo  corridor  as  far  as  the 
Long  Qallery,  and  pass  into  the 

Sala  Prima  Toscana. 

This  contains  works  of  the  earlier  mediaeval  type,  the 
culminating  point  of  Giottesque  painting. 


MHMai 


io6 


FLORENCE 


(V. 


In  front  of  you  as  you  enter,  on  easels  in  the  middle,  are 
two  of  the  noblest  and  most  beautiful  pictures  of  tlie  early 
15th  century.  That  to  the  Lis^Qentlle  da  Fabriano's 
Adoration  of  the  Magi,  the  most  gorgeous  altar-piece  of  the 
Early  Umbrian  School,  still  enclosed  in  its  original  setting 
of  three  arches.  This  great  work,  which  comes  from  the 
Sacristy  of  Santa  Triniti  in  Florence,  should  be  closely 
studied  in  all  its  details.  Contrary  to  custom,  the  Madonna 
occupies  the  L  field.  The  ruined  temple  and  shed  to  the  L, 
the  attendants  examining  the  Elder  King's  gift,  the  group 
of  the  Madonna  a:  d  Child,  with  Joseph  in  his  conventional 
yelow  robe,  and  the  Star  which  stands  "over  the  place 
where  the  young  Child  was,"  should  all  be  observed  and 
compared  with  other  pictures.  (I  may  mention  parentheti- 
cally that  the  Star  of  Bethlehem  in  Adorations  is  in  itself 
worth  study,  being  sometimes  inscribed  with  the  human 
face,  and  sometimes  developed  in  curious  fashions.) 
Examine  also  the  group  of  the  Three  Kings,  the  eldest 
of  whom,  as  usual,  is  kneeling,  having  presented  his  gift  and 
removed  his  crown  ;  while  the  second  is  in  the  act  of  offer- 
ing, and  the  third  and  youngest,  just  dismounted  from  his 
horse,  is  having  his  spurs  removed  by  an  obsequious  at- 
tendant. The  exquisite  decorative  work  of  their  robes,  the 
finest  product  of  the  Early  Umbrian  School,  deserves  close 
attention.  Note,  next,  the  cavern  of  the  Apocryphal  Gospels 
m  the  background,  with  the  inevitable  ox  and  ass  of  the 
Nativity.  The  two  or  three  servants  who  formed  the  sole 
train  of  the  Magi  in  earlier  works  have  here  developed 
into  a  great  company  of  attendants,  mounted  on  horses  and 
camels,  to  mark  their  oriental  origin,  and  dressed  in  what 
Gentile  took  to  be  the  correct  costumes  of  Asia  and  Africa 
Note  the  excellent  drawing  (for  that  date)  of  some  of  the 
horses,  and  the  tolerably  successful  attempts  at  foreshorten- 
ing. Observe  likewise  the  monkeys,  the  hunting  leopard, 
the  falcons,  and  the  other  strange  animals  in  the  train  of  the 
Kings,  to  suggest  orientalism.  All  this  part  of  the  picture 
should  be  closely  compared  with  the  inexpressibly  lovely 
Benozzo  Gozzoli  of  the    Procession  of  the  Kings  in  the 


n  the  middle,  are 
;ures  of  the  early 
e  da  Fabriano's 

altar-piece  of  the 
its  original  setting 
t  comes  from  the 
should  be  closely 
om,  the  Madonna 
nd  shed  to  the  L, 
j's  gift,  the  group 
I  his  conventional 

"over  the  place 
be  observed  and 
ention  parentheti- 
rations  is  in  itself 

with  the  human 
:urious  fashions.) 
Kings,  the  eldest 
sented  his  gift  and 
in  the  act  of  offer- 
tnounted  from  his 
an  obsequious  at- 
of  their  robes,  the 
)ol,  deserves  close 
pocryphal  Gospels 
>x  and  ass  of  the 
10  formed  the  sole 
e  here  developed 
Lted  on  horses  and 
1  dressed  in  what 
f  Asia  and  Africa. 
te)  of  some  of  the 
pts  at  foreshorten- 

hunting  leopard, 

in  the  train  of  the 
part  of  the  picture 
lexpressibly  lovely 
the  Kings  in  the 


v.] 


THE   BELLE  ART  I 


107 


Riccardi  Palace.  The  face  of  the  Young  King  is  repeated  in 
one  of  the  suite  to  the  extreme  R.  Examine  all  these  faces 
separately,  and  observe  their  characterization.  Do  not  over- 
look the  fact  that  the  principal  ornaments  in  this  splendid 
picture  are  raised  in  plaster  or  gesso-work,  and  then  gilt  and 
painted. 

The  background  of  the  main  picture  also  contains  three 
separate  scenes  of  the  same  history.  In  the  L  arch,  the 
Three  Kings,  in  their  own  country,  behold  the  Star  from  the 
summit  of  a  mountain.  In  the  centre  arch,  they  ride  in 
procession  to  enter  Jerusalem  and  enquire  the  way  of  Herod. 
In  the  R  arch,  they  are  seen  returning  to  their  own  country 
Do  not  be  satisfied,  however,  with  merely  identifying  these 
points  to  which  I  call  attention  ;  if  you  look  for  yourself,  you 
will  find  others  in  abundance  well  worth  your  notice.  This 
is  a  picture  before  which  you  should  sit  for  long  periods 
together. 

Two  subjects  remain  in  the  predella,  the  third  is  missing 
here  (now  in  the  Louvre,  Presentation  in  the  Temple).  To 
the  L  is  the  Nativity,  with  the  angels  appearing  to  the  shep- 
herds.    In  the  centre  is  the  Flight  into  Egypt. 

The  gable-ends  or  cuspidi  also  contain  figures,  which  do 
not  seem  to  me  by  the  same  hand.  R  and  L,  the  Annuncia- 
tion, m  two  separate  lozenges  ;  centre,  the  Eternal  Father, 
blessing.  The  scrolls  with  names  will  enable  you  to  identify 
the  recumbent  kings  and  prophets. 

This  picture,  dated  1423,  strikes  the  keynote  for  early 
Umbrian  .?rt.  Observe  how  its  Madonna  leads  gradually 
up  to  Perugino  and  Raphael.  Softness,  ecstatic  piety,  and 
elaborate  decoration  are  Umbrian  notes.  You  cannot  study 
this  work  too  long  or  too  carefully. 

The  second  of  these  great  pictures  is  Fra  Angellco's 
Descent  from  the  Cross,— his  finest  work  outside  the  realm 
of  fresco.  This  also  deserves  the  closest  study.  Observe 
that,  in  spite  of  its  large  size,  it  is  essentially  miniature. 
To  the  L  is  the  group  of  the  Mater  Dolorosa  and  the  mourn- 
ing Maries.  Hard  by,  the  Magdalen,  recognisable  (as 
always)  by  her  long  golden  hair,  is  passionately  kissing  the 


sttii 


mm 


^IMtlMW.!»Ulil. 


io8 


FLORENCE 


ly. 


feet  of  the  dead  Saviour.  St.  Nicodemus  and  St.  Joseph  of 
Arimathea — the  latter  a  lovely  face, — distinguished  by  their 
haloes,  are  letting  down  the  sacred  body  from  the  Cross, 
which  St.  John  and  another  believer  receive  below.  To  the 
extreme  R  is  a  group  of  minor  disciples,  one  of  whom  (dis- 
tinguished by  rays,  but  I  cannot  identify  him)  exhibits  the 
Crown  of  Thorns  and  the  three  nails  to  the  others.  The 
figure  in  red  in  the  foreground  is  possibly  intended  for  St. 
Longinus.  Above,  in  the  arches,  are  sympathising  angels. 
This  is  a  glorious  work,  full  of  profound  feeling.  The 
towers  and  wall  of  the  city,  recalling  those  of  Florence, 
should  also  be  noticed.  The  trees  and  landscape  are  still 
purely  conventional 

On  the  frame,  a>  figures  of  saints  :  L,  St  Michael  the 
Archangel,  a  glorious  realisation ;  St.  Francis  with  the 
Stigmata ;  St.  Andrew ;  and  St.  Bernardino  of  Siena ; 
R,  St.  Peter  with  the  keys  ;  St.  Peter  Martyr  with  his 
wounded  head ;  St.  Paul  with  the  sword  (observe  the  type) ; 
and  a  bearded  St.  Dominic,  with  his  red  star  and  lily.  In 
the  gable  ends  or  cusfiidi  are  three  saints  by  Don  Lorenzo 
Monaco,  who  can  usually  be  recognised  by  the  extreme 
length  and  curious  bend  of  his  figures.  (See  him  better  at 
the  UflSzi.)  L,  Christ  and  the  Magdalen  in  the  garden  ; 
centre,  the  Resurrection  ;  R,  the  three  Maries  at  the  tomb. 
Compare  with  the  Annunciation  just  to  the  right  on  the  wall, 
by  the  same  painter. 

Now  begin  at  the  Lwall  by  the  door.  These  pictures 
represent  the  earliest  art  of  Tuscany,  and  are  mostly 
altar-pieces. 

High  up,  a  curious  "Byzantine"  (say  rather,  barbaric) 
figure  of  St.  Mary  Magdalen,  as  the  Penitent  in  Provence 
(see  Mrs.  Jameson).  As  always  in  this  subject,  she  is  clad 
entirely  in  her  own  hair,  which  the  modesty  of  the  early 
Christian  artist  has  represented  as  covering  her  from  head 
to  foot  like  a  robe.  It  is  here  rather  red  than  golden.  She 
holds  a  scroll  with  the  rhyming  Latin  inscription, — 

Ne  desperetis,  vos  qui  peccare  soletis, ' 
Exemploque  meo  vos  reparate  Deo: 


nwMHr; 


m 


ly. 

and  St.  Joseph  of 
inguished  by  their 
y  from  the  Cross, 
ve  below.  To  the 
ane  of  whom  (dis- 
him)  exhibits  the 
the  others.  The 
jT  intended  for  St. 
npathising  angels, 
md  feeling.  The 
hose  of  Florence, 
landscape  are  still 

L,  St  Michael  the 
Francis  with  the 
ardino  of  Siena ; 
Martyr  with  his 
observe  the  type) ; 
star  and  lily.  In 
>  by  Don  Lorenzo 
1  by  the  extreme 
(See  him  better  at 
n  in  the  garden  ; 
[aries  at  the  tomb. 
;  right  on  the  wall, 

r.    These  pictures 
',  and  are  mostly 

rather,  barbaric) 
litent  in  Provence 
ubject,  she  is  clad 
lesty  of  the  early 
ng  her  from  head 
:han  golden.  She 
ription, — 

jletis, ' 
Deo: 


v.] 


THE  BELLE  ART  I 


109 


that  is  to  say  :  "  Despair  not  ye  who  are  wont  to  sin,  and  by 
my  example  make  your  peace  with  God."  At  its  sides  are 
eight  small  stories  from  the  Life  of  the  Saint,  biblical  and 
legendary.  Beginning  at  the  top,  L,  the  Magdalen  washing 
the  feet  of  Christ ;  the  canopy  represents  a  house ;  the 
tower  shows  that  it  takes  place  in  a  city  ;  R,  the  Resurrec- 
tion of  Lazarus,  represented  (as  in  all  early  pictures)  as  a 
mummy  ;  note  the  tower,  and  the  bystanders  holding  their 
noses.  Second  tier  :  L,  Christ  and  the  Magdalen  in  the 
garden  ;  R,  she  goes  to  Marseilles,  with  Martha  and  St. 
Maximia,  and  converts  the  people  of  that  city,  which  ob- 
serve in  the  background.  Third  tier :  L,  she  takes  refuge 
as  a  Penitent,  now  clad  only  in  her  luxuriant  hair,  in  the 
Sainte  Baume  (a  holy  cave  in  Provence),  where  she  is  daily 
raised  to  see  the  Beatific  Vision  by  four  angels.  (Look  out 
for  later  representations  of  this  subject,  often  improperly 
described  as  the  Assumption  of  the  Magdalen.)  R,  the 
Magdalen,  at  the  mouth  of  the  cave,  has  the  holy  wafer 
brought  her  by  an  angel.  Fourth  tier  :  L,  St  Maximin, 
warned  by  an  angel  that  the  Magdalen  is  dying,  brings 
her  the  Holy  Sacrament  to  her  cave  ;  R,  he  buries  the 
Magdalen  at  Marseilles ;  canopy  and  tower  again  repre- 
senting church  and  city. 

Beneath  this,  100,  similar  early  figure  of  St.  John  in  the 
desert,  with  his  own  head  in  a  charger  before  him  :  ill 
described  as  Byzantine. 

loi.  Curious  barbaric  picture  of  Madonna  and  Saints, 
with  scenes  from  the  life  of  Christ :  brought  from  the 
Franciscan  convent  of  Santa  Chiara  at  Lucca.  The  saints 
can  be  sufficiently  identified  by  their  inscriptions.  Compare 
the  quaint  St  Michael  with  Fra  Angelico's,  and  the  St. 
Anthony  and  St.  Francis  with  those  later  types  with  which 
we  are  already  familiar.  Never  forget  that  these  rude  early 
works  form  the  basis  of  all  later  representations.  Notice 
Santa  Chiara,  to  whom  the  work  is  dedicated  (see  B  ledeker, 
Assisi). 

102.  Cimabue,  Madonna  and  angels,  resemb'ing  the 
picture  in  Santa   Maria  Novella,  but  with  a  considerable 


■MPI 


gffiK»ii«iigjP|i|itJllP,«)|ifyii 


no 


FLORENCE 


[V. 


variation  in  iht  angelic  figures,  here  rather  less  successful. 
It  is,  I  think,  an  earlier  picture.  Beneath  it,  four  prophets 
in  an  arcade,  holding  scrolls  with  inscriptions  from  their 
own  writings,  interpreted  by  mediaeval  theologians  as 
prophecies  of  the  Holy  Virgin. 

Next  it,  103.  A  similar  altar-piece  by  Giotto,  with  same 
central  subject,  where  the  difference  of  treatment  and  the 
advance  in  art  made  by  the  great  painter  are  tolerably  con- 
spicuous. At  the  same  time,  Giotto  is  never  by  any  means 
so  interesting  or  free  in  altar-pieces  as  in  fresco.  The  best 
figures  here  are  the  angels  in  the  foreground.  The  details 
of  both  these  pictures  deserve  attentive  study  and  comparison. 

Then,  116,  Taddeo  Gaddi,  The  Entombment,  with  the 
risen  Christ  in  a  mandorla  above,  and  angels  exhibiting  the 
instruments  of  the  Passion.  The  attendant  St.  John  and 
other  figures  in  this  fine  work  should  be  compared  with  the 
corresponding  personages  in  Fra  Angelico's  Descent  from 
the  Cross.  They  serve  to  show  how  much  the  Friar  of  San 
Marco  borrowed  from  his  predecessors,  and  how  far  he 
transformed  the  conceptions  he  took  from  them.  This  is 
one  of  the  best  altar-pieces  of  the  school  of  Giotto.  Do  not 
hurry  away  from  it.  The  OSM  stands  for  Or  San  Michele, 
from  which  church  the  picture  comes. 

127.  Agnolo  Gaddi,  Madonna  and  Child,  with  six  Floren- 
tine saints.  Note  the  dates  and  succession  in  time  of  all 
these  painters.  Compare  the  central  pane'  with  the  Giotto 
close  by  to  show  its  ancestry.  The  other  saints  are  St. 
Pancratius  (from  whose  church  and  high  altar  it  comes) ; 
St  Nereus  ;  and  St.  John  the  Evangelist :  St.  John  the 
Baptist ;  St.  Achileus  ;  and  Santa  Reparata  of  Florence. 
For  these  very  old  Roman  saints,  little  known  in  Florence 
save  at  this  ancient  church,  consult  Mrs.  Jameson.  Omit 
the  predclla  for  the  moment. 

Beneath  these  pictures  are  a  set  of  paael«,  attributed  to 
Giotto,  and  representing  scenes  in  the  Life  of  Christ.  They 
originally  formed  part  of  a  chest  or  cupboard  in  the  Sacristy 
of  the  church  of  Santa  Croce  in  Florence,  as  the  very  similar 
series  by  Duccio  still  do  at  Siena  (if  you  go  to  Siena,  you 


mmr 


^T 


[V. 

ler  less  successful. 
:h  it,  four  prophets 
-iptions  from  their 
al    theologians    as 

Giotto,  with  same 
treatment  and  the 

are  tolerably  con- 
ever  by  any  means 
I  fresco.  The  best 
)und.  The  details 
dy  and  comparison, 
mbment,  with  the 
Ijels  ex^ibiting  the 
iant  St.  John  and 
compared  with  the 
co's  Descent  from 
h  the  Friar  of  San 
,  and  how  far  he 
m  them.  This  is 
of  Giotto.  Do  not 
»r  Or  San  Michele, 

d,  with  six  Floren- 
iion  in  time  of  all 
le'  with  the  Giotto 
ber  saints  are  St. 
Ii  altar  it  comes) ; 
ist :  St.  John  the 
irata  of  Florence, 
nown  in  Florence 
.  Jameson.    Omit 

aels,  attributed  to 
e  of  Christ.  They 
ird  in  the  Sacristy 
as  the  very  similar 
go  to  Siena,  you 


v.l 


THE  BELLE  ARTI 


III 


should  compare  the  two).  Though  not  important  works, 
they  deserve  study  from  the  point  of  view  of  development. 
Note,  for  example,  in  the  first  of  the  series,  the  Visitation, 
the  relative  positions  of  the  Madonna  and  St.  Elizabeth,  and 
the  arch  in  the  background— an  accessory  which  afterwards 
becomes  of  such  importance  in  the  Pacchiarotto  in  an 
adjacent  room,  and  in  the  Mariotto  Albertinelli  in  the  Uffizi. 
Observe,  similarly,  the  quaint  Giottesque  shepherds  in  the 
second  of  the  series  :  their  head  dress  is  characteristic  :  you 
will  meet  it  in  many  Giottos.  The  Magi,  with  their  one 
horse  each,  may  be  well  compared  with  the  accession  of 
wealth  in  Gentile  del  Fabriano ;  while  the  position  of  the 
elder  king  and  the  crown  of  the  second  are  worth  notice  for 
comparison.  Observe  how  almost  invariably  the  eldest 
king  has  removed  his  crown  and  presented  his  gift  at  the 
moment  of  the  action.  Earlier  works  are  always  simpler  in 
their  motives  :  never  forget  this  principle.  Not  less  charac- 
teristic is  the  Presentation  in  the  Temple,  with  fire  in  the 
altar,  where  the  figures  of  St.  Joseph,  R,  and  St.  Simeon,  L, 
are  extremely  typical.  The  Baptism  has  the  unusual  feature 
of  the  Baptist  and  the  angels  on  the  same  bank,  while  a 
second  figure  waits  beyond  with  the  towel.  The  Trans- 
figuratioh  prepares  you  for  Fra  Angelico's  in  St.  Marco. 
The  Last  Supper,  with  Judas  leaving  the  table,  is  an  in- 
teresting variant.  The  Resurrection  shows  most  of  the 
conventional  features.  The  Doubting  Thomas  also  sheds 
light  on  subsequent  treatments. 

Compare  these  works  with  those  in  the  predella  of  the 
Agnolo  Gaddi,  where  the  story  of  Joachim  and  Anna,  with 
which  you  are  now,  I  hope,  familiar,  is  similarly  related. 
Joachim  expelled  from  the  Temple,  with  the  angel  an- 
nouncing to  him  the  future  birth  of  the  Virgin,  ought  by  this 
time  to  be  a  transparent  scene.  In  the  Meeting  at  the 
Golden  Gate  you  will  recognise  the  angel  who  brings  to- 
gether the  heads  of  wife  and  husband,  as  in  the  lunette  at 
Santa  Maria  Novella.  The  Birth  of  thr  Virgin  has,  in  a 
very  simple  form,  all  the  characteristic  elements  of  this 
picture.    So  has  the  Presentation  in  the  Temple,  with  its 


■m. 


119 


FLORENCE 


[v. 


flight  of  steps  and  its  symbolical  building.  Most  interesting 
of  all  is  the  Annunciation,  which  should  be  close'./  com- 
pared with  similar  representations. 

Beneath  this  Agnolo  Gaddi,  again,  are  a  small  series,  also 
attributed  to  Giotto,  of  the  Life  of  St.  Francis.  The  scenes 
are  the  conventional  ones  :  compare  with  Santa  Croce :  St. 
Francis  divesting  himself  of  his  clothes  and  worldly  goods 
to  become  the  spouse  of  poverty  :  St.  Peter  shows  Innocent 
III.  in  a  dream  the  falling  church  (St.  John  Lateran  at  Rome) 
sustained  by  St.  Francis  :  The  Confirmation  of  the  Rules  of 
the  Order.  St.  Francis  appears  in  a  chariot  of  fire  (  2J). 
He  descends  to  be  present  at  the  martyrdom  of  Franciscan 
brothers  at  Ceuta,  etc.  The  scene  of  St  Francis  receiving 
the  Stigmata  is  closely  similar  (with  its  six-winged  seraph 
and  its  two  little  churches)  to  the  great  altar-piece  from  San 
Frances -o  at  Pisa,  now  preserved  in  the  Louvre.  Note  its 
arrangei  ent.  Next  it,  L,  St.  Francis  appearing  at  Aries 
while  St.  Anthony  of  Padua  is  preaching,  recalls  the  fresco 
in  Santa  Croce.  Indeed,  all  the  members  of  this  little  series 
may  be  very  well  collated  with  the  frescoes  of  similar  scenes 
in  the  Bardi  Chapel.  (Go  also  to  Santa  TrinitJi  for  the 
Ghirlandajos.) 

End  wall,  129,  altar-piece  of  the  Coronation  of  the  Virgin, 
with  attendant  saints.  All  are  named  on  the  frame  :  so  are 
the  painters.  Observe  the  saints  and  their  symbols— especi- 
ally Santa  Felicitk,  for  whose  convent  it  was  painted.  Notice 
also  the  usual  group  of  angels  playing  musical  instruments, 
who  develop  later  into  such  beautiful  accessories.  It  may 
be  worth  while  to  note  that  these  early  altar-pieces  give 
types  for  the  faces  of  the  apostles  and  saints  which  can  after- 
wards be  employed  to  elucidate  works  of  the  Renaissance, 
especially  Last  Suppers.  Left  panel,  Spinello  :  centre, 
Lorenzo  :  right,  Niecol6. 

R  of  the  door,  two  stories  from  the  Life  of  St.  Nicolas  of 
Bari.  In  the  upper  one,  he  appears  in  the  sky  to  resuscitate 
a  dead  child,  where  the  double  figure,  dead  and  living,  is 
characteristic.  For  the  legends  in  full  you  must  see  Mrs. 
Jameson. 


--.•?mM«i»itiii*Wiai 


I  liililiiHM^,,_pii 


[V. 

Most  interesting 
be  closel/  corn- 
small  serieH,  also 
icis.  The  scenes 
Santa  Croce:  St. 
nd  worldly  goods 

•  shows  Innocent 
l^teran  at  Rome) 
n  of  the  Rules  of 
riot  of  fire  (21). 
om  of  Franciscan 
Francis  receiving 
iix-winged  seraph 
ir-piece  from  San 
Louvre.  Note  its 
ipearing  at  Aries 
recalls  the  fresco 
of  this  little  series 
i  of  similar  scenes 
a  Trinitk  for  the 

tion  of  the  Virgin, 
the  frame  :  so  are 

symbols— especi- 
s  painted.  Notice 
isical  instruments, 
^essories.     It  may 

altar-pieces  give 
ts  which  can  after- 

the  Renaissance, 
Spinello  :    centre, 

•  of  St.  Nicolas  of 
!  sky  to  resuscitate 
ead  and  living,  is 
ou  must  see  Mrs. 


V.J 


THE  BELLE  ART! 


113 


134.  Ambrogio  Lorenzetti  (one  of  the  best  of  the  eariy 
School  of  Siena),  the  Presentation  in  the  Temple.  Note 
the  positions  of  St.  John  and  the  Madonna,  St.  Simeon  and 
St.  Anne,  whose  names  are  legibly  inscribed  on  their  haloes. 
Observe  also  the  architecture  of  the  temple,  and  note  that  in 
early  pictures  churches  and  other  buildings  are  represented 
as  interiors  by  the  simple  device  of  removing  one  side- 
exactly  as  in  a  doll's  house. 

All  the  early  altar-pieces  on  this  wall  deserve  attention. 
Do  not  omit  St.  Nicolas  of  Bari  throwing  the  three  purses 
as  a  dowry  into  the  window  of  the  poor  nobleman  with  three 
starving  daughters.  One  is  already  thrown  and  being  pre- 
sented :  the  saint  is  holding  the  other  two.  St.  Nicolas 
was  the  patron  saint  of  pawnbrokers  (they  "  freely  'end  to 
all  the  poor  who  leave  a  pledge  behind"),  hence  his  three 
golden  balls  are  the  badge  of  that  trade. 

137.  The  Annunciation,  with  saints,  among  whom  St. 
John  of  Florence  and  St.  Dominic  are  conspicuous.  All  are 
named  on  the  frame,  and  should  be  separately  identified. 
The  wall  behind  the  'ladonna  and  angel,  the  curtain,  and 
the  bedroom  in  the  background,  are  all  conventional.  Notice 
the  frequent  peacocks'  wings  given  to  Gabriel.  Observe,  in 
the  predella.  Pope  Gregory  the  Great,  with  the  dove  whis- 
pering at  his  ear  as  always.  I  do  not  particularise  in  these 
a'.tar-pieces,  because,  as  a  rule,  the  names  of  the  saints  are 
marked,  and  all  you  require  is  the  time  to  study  them.  The 
longer  you  look,  the  better  will  you  understand  Italian  art 
in  general. 

The  next  picture,  139,  shows  itself  doubly  to  be  a  Fran- 
ciscan and  a  Florentine  picture.  It  has  the  Medici  saint,  St. 
Lawrence,  beside  the  Florentine  St.  John  Baptist ;  while  on 
the  other  side  stand  St.  Francis  and  St.  Stephen,  the  latter, 
as  often,  with  the  stones  of  his  martyrdom  on  his  head,  and 
in  the  rich  dress  of  a  deacon.  The  donor  was  probably  a 
Catherine,  because  (though  it  was  painted  for  a  Franciscan 
convent  of  Santa  Chiara,  as  the  inscription  states)  at  the 
Madonna's  side  stand  St.  Catherine  of  Siena,  the  Domini- 
can nun,  and  St.  Catherine  of  Alexandria,  the  princess,  with 

H 


1 


i# 


MilMtlillpI 
114 


FLORENCE 


(V. 


her  wheel.  In  the  prcdella,  observe  the  Adoration  of  the 
Magi,  where  attitudes,  camels,  and  other  details,  lead  up  in 
many  ways  to  later  treatments. 

140  is  a  characteristic  Holy  Trinity,  with  St.  Romuald 
the  Abbot  and  St.  Andrew  the  Apostle.  The  chief  subject 
of  the  predella  is  the  Temptation  of  St.  Anthony.  In  another 
predella,  below  it,  notice  the  Presentation  of  the  Virgin  in 
the  Temple  and  the  Marriage  of  the  Virgin,  all  the  elements 
in  which  should  be  closely  compared  with  the  frescoes  at 
Santa  Cro<.e. 

143  is  an  Annunciation,  by  Don  Lorenzo  Monaco,  where 
the  floating  angel,  just  alighting  on  his  errand,  and  the 
shrinking  Madonna,  represent  an  alternative  treatment  of 
the  subject  from  that  in  Neri  di  Bicci.  Look  out  in  future 
for  these  floating  Gabriels.  Note  that  while  no  marked 
division  here  exists  between  Gabriel  and  Our  Lady,  the  two 
figures  are  yet  isolated  in  separate  compartments  of  the 
tabernacle.  The  saints  are  named.  St.  Proculus  shows 
this  work  to  have  been  probably  painted  for  a  citizen  of 
Bologna,  of  which  town  he  is  patron,  though  it  comes  here 
direct  from  the  Badia  in  Florence. 

147  introduces  us  to  a  different  world.  It  was  usual  in 
mediaeval  Florence  to  give  a  bride  a  chest  to  hold  her 
trousseau,  and  the  fronts  of  such  chests  were  often  painted. 
This  example  represents  a  marriage  between  the  Adimari 
and  Ricasoli  families,  and  is  interesting  from  the  point  of 
view  of  costume  and  fashion.  The  loggia  is  tha  of  the 
Adimari  family. 

The  Neri  di  Bicci,  148,  uninteresting  as  art,  has  curious 
types  of  St.  Mary  Magdalen,  St.  Margaret,  St  Agnes,  and 
St.  Catherine,  each  with  her  symbol.  These  insipid  saints 
have  little  but  their  symbolical  significance  to  recommend 
them  ;  yet  they  deserve  attention  as  leading  up  to  later 
representations. 

On  the  window  wall,  notice  155,  a  picture  which  seems 
to  lead  up  to  or  reflect  the  manner  of  Botticelli. 

Near  the  door,  164,  Luca  Signorelii.  Not  a  pleasing 
example  of  the  gr«at  master.    The  Archangel  St.  Michael, 


"'^■^CSiSSwrgiMigj^. 


[V. 

le  Adoration  of  the 
ir  details,  lead  up  in 

,  with  St.  Romuald 
The  chief  subject 
inthony.  In  another 
on  of  the  Virgin  in 
gin,  all  the  elements 
with  the  frescoes  at 

;nzo  Monaco,  where 
his  errand,  and  the 
rnative  treatment  of 
Look  out  in  future 
,t  while  no  marked 
i  Our  Lady,  the  two 
smpartments  of  the 
St.  Proculus  shows 
ted  for  a  citizen  of 
ough  it  comes  here 

Id.  It  was  usual  in 
chest  to  hold  her 
were  often  paintud. 
etween  the  Adimari 
J  from  the  point  of 
ggia  is  tha    of  the 

;  as  art,  has  curious 
;aret,  St  Agnes,  and 
rhesc  insipid  saints 
ance  to  recommend 
leading  up  to  later 

picture  which  seems 

itticelli. 

i.      Not  a  pleasing 

:hangel  St.  Michael, 


v.] 


THE  BELLE  ART! 


115 


weighing  souls,  and  Gabriel  bearing  the  lii"  of  the  Annunci- 
ation, are  the  best  elements.     The  Child  is  also  well  painted, 
and  the  faces  of  St.  Ambrose  and  St.  Athanasius  below  are 
full  of  character. 
The  next  room,  the 

Sala  Srconda, 
is  chiefly  interesting  as  containing,  on  an  easel  in  the 
centre,  ••Ghirlandajo's  magnificent  Adoration  of  the  Shep- 
herds. In  its  wealth  of  detail  and  allusiveness,  its  classical 
touches  and  architecture,  its  triumphal  arch,  its  sarcophagus, 
etc.,  this  i!>  a  typical  Renaissance  work.  As  commonly 
happens  with  Ghirlandajo,  the  shepherds  are  clearly  por- 
traits, and  admirable  portraits,  of  contemporary  Florentines. 
Notice  the  beautiful  iris  on  the  R,  representing  the  Floren- 
tine lily.  Also  the  goldfinch,  close  to  the  Divine  Child,  and 
Joseph's  saddle  to  the  L.  The  disUnce  represents  tha 
Approach  of  the  Magi,  and  may  be  well  compared  with  the 
Gentile  da  Fabriano.  Note  how  the  oriental  character  of 
the  head-dress  survives.  The  landscape,  though  a  little 
hard,  is  fine  and  realistic.  The  contrast  between  the  ruined 
temple  and  the  rough  shed  built  over  it  is  very  graphic. 
Not  a  detail  of  the  technique  should  be  left  unnoticed. 
Observe,  for  example,  the  exquisite  painting  of  the  knee'.ing 
shepherd's  woollen  cap,  and  the  straws  and  thatch  through- 
out the  picture.  The  Madonna  is  characteristic  of  the 
Florentine  ideal  of  Ghirlandajo's  period.  The  ox  and  ass, 
on  the  other  hand,  are  a  little  unworthy  of  so  great  an 
artist. 

On  the  walls  of  this  room  are  pictures,  mostly  of  second- 
ary interest,  belonging  to  the  age  of  the  High  Renaissance. 
R  of  the  door  are  a  series  of  good  heads  by  Fra  Bartolom- 
meo,  the  best  of  which  is  that  of  St.  Dominic,  with  his 
finger  to  his  lips,  to  enforce  the  Dominican  rule  of  silence. 

Above  them,  a  fine  Madonna  and  Child,  by  Mariotto 
Albertinelli,  where  the  figures  of  St.  Dominic  with  his  lily, 
St.  Nicolas  of  Bari  with  his  three  golden  balls,  and  the 
ascetic  St.  Jerome  with  his  cardinal's  hat  and  lion,  will  now 
be  familiar.    But  the  finest  figure  is  that  with  a  sword,  to 


«n 


» «<>  FLOkENCR  [y. 

tilt  L,  repre^onting  St.  Julian,  th^  patron  iain»  of  Rimini. 
The  fly-away  little  antjeli  and  the  unhappy  canopy  fore- 
ihadow  the  decadence. 

Better  far  is  Mariotto'g  Annunciation,  adjacent,  where  the 
addition  of  the  heavenly  choir  ;'.bove  is  a  novel   feature. 
The  shrinking  position  of  the  Madonna  may  well  be  com 
pared  with  the  earlier  specimens,  and  with  the  beautiful 
Andrea  del  Sarto  in  the  Uffiii. 

Beyond,  171  and  173.  two  Madonnas  by  Fra  Bartolom- 
meo,  which  may  be  taken  as  typical  specimens  of  his  style 
in  fresco.  Compare  with  the  heads  to  the  L  in  order  to 
form  your  conception  of  this  great  but  ill-advised  painter, 
who  led  the  way  to  so  much  of  the  decadence. 

Between  them,  17a,  also  by  Fra  Bartolommeo  :  Savona- 
rola in  the  character  of  St.  Peter  Martyr,  a  forcible  but 
singularly  unpleasant  portrait. 

Above  it,  170,  Fra  Paolino,  Madonna  and  Child  with 
saints.  Interesting  as  showing  the  grouping  that  came  in 
with  the  High  Renaissance,  and  the  transformation  effected 
in  the  character  of  the  symbols.  These  canopied  thrones 
belong  to  the  age  of  Fra  Bartolommeo.  The  Magdalen 
can  only  be  known  by  her  box  of  ointment.  St.  Catherine 
of  Siena,  to  whom  the  infant  Christ  extends  a  hand,  seems 
to  be  painted  just  for  the  sake  of  her  drapery.  St.  Dominic 
with  his  lily  becomes  an  insipid  monk,  and  even  the  ascetic 
face  of  St.  Bernardino  of  Siena  almost  loses  its  distinctive 
beauty.  The  attitude  of  St.  Antony  of  Padua,  pointing 
with  his  hand  in  order  to  call  St.  Catherine's  attention  to 
what  is  happening,  as  though  she  were  likely  to  overlook  it, 
is  in  the  vilest  taste.  Altogether,  a  sad  falling  off  from  the 
purity  and  spirituality  of  the  three  great  rooms  of  Botticelli 
and  Perugino.  This  picture  comes  from  the  convent  of 
Santa  Caterina  in  Florence. 

I74i  The  Madonna  letting  drop  the  Sacra  Cintola  to  St. 
Thomas,  is  a  far  more  pleasing  specimen  of  Fra  Paolino. 
The  kneeling  Thomas  has  d'.jnity  and  beauty,  and  is  not 
entirely  painted  for  the  sake  of  his  feet.  St.  Francis  is  a 
sulli-ienlly  '•ommonplacc  monk,  but  St.  John  the   Baptist 


tv. 

m  taint  of  Rimini, 
jappy  canopy  fore- 

adjacent,  where  the 
is  a  novel   feature, 
may  well  be  com 
with  the  beautiful 

by  Fra  Ilartolom- 
cimens  of  his  style 

the  L  in  order  to 
ill-advised  painter, 
lence. 

alommeo  :  Savona- 
tyr,  a  forcible  but 

la  and  Child  with 
iping  that  came  in 
^formation  effected 
I  canopied  thrones 
0.  The  Mcigdalen 
ent.  St.  Catherine 
mds  a  hand,  seems 
pery,  St.  Dominic 
id  even  the  ascetic 
loses  its  distinctive 
)f  Padua,  pointing 
Erine's  attention  to 
kely  to  overlook  it, 
illing  off  from  the 
rooms  of  Botticelli 
m  the   convent  of 

icra  Cintola  to  St. 
sn  of  Fra  Paolino. 
beauty,  and  is  not 
t.  St.  Francis  is  a 
John  the   Baptist 


V] 


TffE  BELLE  ART! 


117 


has  not  wholly  lost  his  earlier  beauty.  The  tomb  full  of 
lilies  is  pleasingly  rendered,  and  the  figures  of  St.  Elizabeth 
of  Hungary  (or  is  it  St.  Rose?)  and  St.  Ursula  with  her 
arrow  behind  have  simplicity  and  dignity.  This  is  of  course 
a  Franciscan  picture  :  it  comes  from  the  convent  of  St 
Ursula  in  Florence.  The  little  frieie  of  saints  by  Michele 
(jhirlandajo,  beneath  it,  is  worthy  of  notice.  The  second 
of  the  series  is  Santib  Keparata. 

The  other  pictures  ii;  this  room  can,  I  think,  be  suffi- 
cientiy  interpreted  by  the  reader  in  person. 

177,  Sogliani,  the  angel  Raphael,  with  Tobias  and  the 
fish.  As  the  angel  carries  the  s&cred  remedy,  this  was 
probably  a  blindness  ex  voto.    To  the  left,  St.  Augustine. 

The  Pieth,  above,  by  Fra  Bartolommeo  and  Fra  Paolino, 
is  noticeable  for  its  Dominican  saints.  You  will  know  them 
by  this  time. 

A  second  group  of  the  Madonna  letting  drop  her  girdle 
to  St.  Thomas,  by  Sogliani,  may  be  instructively  compared 
with  Fra  Paolino. 

The  late  Renaissance  pictures  on  the  rest  of  the  wall  need 

little  comment.    The 

Sala  Tekza, 

contains  works  of  the  16th  and  I7«h  centuries,  mostly  »• 
unpleasant  as  theatrical  gesture  and  false  taste  can  make 
them. 

198,  Alesnandro  Allori's  Annunciation,  while  preserving 
many  of  the  traditional  features,  is  yet  a  noble  and  valuable 
monument  of  absolute  vulgarity.  The  fly-away  Gabriel, 
with  coarsely  painted  lily,  the  cloud  on  which  he  rests  in 
defiance  of  gravitation,  the  cherubs  behind,  the  third-rate 
actress  who  represents  Our  Lady,  the  roses  on  the  floor, 
and  the  attitudes  of  the  hands  in  both  the  chief  characters, 
are  as  vile  as  Allori  could  make  them.  But  the  crowning 
point  of  bad  taste  in  this  picture  is  surely  the  eldest  of  the 
boy-angels,  just  out  of  school,  and  apparently  sprawling  in 
ambush  on  a  cloud  to  play  some  practical  joke  on  an  un- 
seen person.  Comparison  of  this  hateful  Annunciation 
with  the  purity  and  simplicity  of  Fra  Angelico's  at  San 


I 


f S¥S  Tffi!Wr'ireHV  V  iWiK'? 


Hrnif*''WWB^. 


ii8 


FLORENCE 


iv. 


Marco  will  give  you  a  measure  of  the  degradation  of  sacred 
art  under  the  later  Medici. 

203,  Carlo  Dolci's  Eternal  Father  may  be  taken  as  in 
another  way  a  splendid  specimen  of  false  sentiment  and 
bad  colouring. 

coj,  Cigoli's  St.  Francis,  admirably  illustrates  the  attempt 
on  the  part  of  an  artist  who  does  not  feel  to  express  feeling. 

Most  of  these  pictures  deserve  some  notice  because,  as 
foils  to  the  earlier  works,  they  excellently  exhibit  the  chief 
faults  to  be  avoided  in  painting.  Sit  in  front  of  them,  and 
then  look  through  the  open  door  at  the  great  Ghirlandajo, 
if  you  wish  to  measure  the  distance  that  separates  the  1 5th 
from  the  later  i6tb  and  17th  centuries.  Cigoli's  Martyrdom 
of  Stephen,  however,  has  rather  more  merit  bot!.  'n  drawing 
and  colouring  :  and  one  or  two  of  the  other  pictures  in  the 
room  just  serve  to  redeem  it  from  utter  nothingness.  Such 
as  they  are,  the  reader  will  now  be  able  to  understand  them 
for  himself  without  further  description. 

Return  through  the  Cupola  and  the  first  part  of  the 
Corridor  to  the  room  on  the  I-,  the 

Sala  del  Beato  Angei-ico. 

This  room  contains  numerous  smaller  works  of  Fra 
Angelico  and  his  contemporaries. 

L  of  the  door,  227,  Fra  Angelico,  Madonna  and  Child 
enthroned,  under  a  niche,  with  Franciscan  and  Medici 
saints  on  either  side.  This  work  is  interesting  for  the 
transitional  stage  it  shows  in  the  development  of  these 
Madonna  pictures.  The  saints  are  now  grouped  in  a 
comparatively  natural  manner,  but  the  arches  behind  them 
show  reminiscences  of  the  earlier  tabernacle  and  altar-piece 
arrangement.  L  of  the  throne,  on  a  raised  marble  dais,  a 
step  below  the  level  of  our  Lady,  stand  the  Medici  saints, 
Cosmo  and  Damian,  in  their  red  deacons'  robes,  with  their 
boxes  of  ointment  and  palms  of  martyrdom  (note  here  as 
always  that  the  most  important  saints  for  the  purpose  of  the 
picture  are  to  the  Madonna's  R,  and  the  spectator's  L).  On 
the  opposite  side,  balancing  them,  and  equally  raised  on  the 


tt^a 


tv. 

legradation  of  sacred 

may  be  taken  as  in 
false  sentiment   and 

illustrates  the  attempt 
el  to  express  feeling, 
ne  notice  because,  as 
ntly  exhibit  the  chief 
in  front  of  them,  and 
:he  great  Ghirlandajo, 
iiat  separates  the  1 5th 
Cigoli's  Martyrdom 
merit  bot!.  'n  drawing 
!  other  pictures  in  the 
;r  nothingness.  Such 
le  to  understand  them 


the  first  part  of  the 

JELICO. 

imaller  works  of   Fra 

I,  Madonna  and  Child 
anciscan  and  Medici 
is  interesting  for  the 
development  of  these 
e  now  grouped  in  a 
le  arches  behind  them 
srnacle  and  altar-piece 
,  raised  marble  dais,  a 
ind  the  Medici  saints, 
icons'  robes,  with  their 
rtyrdom  (note  here  as 
1  for  the  purpose  of  the 
the  spectator's  L).  On 
d  equally  raised  on  the 


v.] 


THE  BELLE  ART  I 


n9 


dais,  are  St.  John  the  Evangelist  and  St.  Lawrence  with  his 
deacon's  robe  and  palm  of  martyrdom.  Below,  on  the 
ground,  stand  the  Dominican  St.  Peter  Martyr,  with  his 
wounded  head,  and  the  Franciscan  St.  Francis,  with  the  Stig- 
mata, in  the  robes  of  their  orders.  Observe  that  the  later 
historical  saints  stand  on  a  lower  level  than  their  legendary 
predecessors.  The  face  and  dress  of  the  Madonna,  the  stiff 
draped  Giottesque  child,  the  star  on  Our  Lady's  shoulder, 
and  many  other  accessories  deserve  close  study.  This 
picture  is  one  which  marks  time  in  the  progress  of  paint- 
ing. Compare  the  arrangement  of  saints  here  with  the 
Giottesque  altar-pieces  just  outside,  and  then  with  the  quite 
naturalistic  arrangements  in  the  three  rooms  of  the  great 
1 5th  century  painters. 

L  of  these  works  begins  a  series  by  Fra  Angelico  of  the 
Life  of  Christ,— small  panel  pictures  (from  the  uoors  of  a 
press  in  the  Annunziata),  some  of  them  of  comparatively 
little  artistic  merit,  but  all  interesting  from  the  point  of  view 
of  development.    (The  first  three,  as  they  stand,  do  not 
seem  to  me  to  be  Fra  Angelico's  at  all.)    Notice  particularly 
the  scene  of  the  Baptism,  for  comparison  with  the  Verrocchio 
in  an  adjoining  room.    Ihe  position  of  the  Baptist  and  the 
small  symbolical  Jordan  are  highly  typical    Verses  from 
the    Vulgate    beneath    explain    the    subjects.    Above  are 
prophecies  from  the  Old  Testament,  supposed  to  foreshadow 
the  events  here  pictured.     In  234,  an  Annunciation,  with  its 
loggia  and  garden  background,  is  very  noteworthy.     Here, 
only  a  doorway  separates  the  Madonna  from  the  announcing 
angel.    The  Adoration  of  the  Magi  in  the  same  set  may  be 
well  compared  with  Gentile  da  Fabriano.    The  Massacre  of 
the  Innocents,  on  the  other  hand,  shows  Fra  Angelico's 
marked  inability  to  deal  with  dramatic  action,  and  especially 
with  scenes  of   cruelty.     In    the    Sacred  Wheel,  in  235, 
observe  the  curious  figures  of  the  four  Evangelists,  at  the 
cardinal  points  of  the  centre,  each  with  human  body,  but 
with  the  head  of  his  beast  as  a  symbol.     The  whole  of  this 
mystic  w*-el,  explained  by  its  inscriptions,  deserves  close 
attention.    The  Circumcision  and  the  ♦Flight  into  Egypt 


ISO 


FLORENCE 


[V. 


below  are  entirely  conventional.  Note  the  inefficient  draw- 
ing of  the  ass.  Compare  the  St.  Joseph  with  that  in  the 
upper  panel  of  236,  the  Nativity,  where  the  type  of  this  saint 
continually  repeated  by  Fra  Angelico  will  become  apparent. 
In  237,  **Judas  Receiving  the  Money  is  especially  spirited  : 
the  dramatic  element  is  rare  in  Fra  Angelico.  The  Last 
Supper,  close  by,  is  noteworthy  as  a  historical  delineation, 
for  comparison  with  the  mystical  one  on  the  walls  of  San 
Marco.  The  scenes  of  the  Buffeting  and  the  Flagellation 
again  exhibit  Fra  Angelico's  limitations.  I  advise  attentive 
study  of  all  these  little  works,  many  of  which  are  of  high 
merit :  make  careful  comparisons  with  the  same  subjects  in 
the  Giottos  and  elsewhere. 

243,  also  by  Fra  Angelico,  contains  a  graphic  account  of 
the  **  history  of  St.  Cosmo  and  St.'  Dnniian,  the  holy  phy- 
sicians who  despised  money,  and  who  in  the  1<  er  L  hand 
compartment  are  represented  as  declining  the  heavy  fees 
proffered  by  a  wealthy  woman.  (Or  rather,  St.  Cosmo 
refuses,  and  St.  Damian  accepts,  because  the  lady  asks  him 
to  take  it  in  the  name  of  the  Lord.)  The  other  subjects 
relate  the  trial  of  the  two  saints,  with  their  three  younger 
brethren,  and  the  attempts  successively  made  to  drown  them, 
from  which  death  they  are  saved  by  angels  ;  to  bum  them 
alive,  when  the  flames  seize  upon  their  persecutors;  to 
crucify  and  stone  them,  when  the  stones  recoil  on  the  heads 
of  the  senders  and  the  arrows  bend  round  to  strike  the 
assailants ;  and  Anally  the  last  successlul  effort  to  behead 
them — a  punishment  which  no  saint  except  St.  Denis  ever 
survives.  This  is  a  very  miraculous  story,  delineated  with 
perfect  faith  and  naivete,  in  a  series  of  exquisite  miniatured, 
far  superior  in  execution  to  the  Life  of  Christ.  They  formed 
a  gradino  at  the  Annunziata.  Observe  the  complete  medi- 
evalism of  the  details,  untouched  as  yet  by  the  slightest 
Renaissance  tendency.  The  Roman  official  who  condemns 
them  is  dressed  like  a  Florentine  gentleman  of  the  period ; 
there  is  no  archaeology. 

Above,  241  and  242,  two  good  portraits  of  Vallombrosan 
monks  by  Perugino,  who  was  largely  employed  in  commis- 


ji  Ml  pini'ii»i.11itiiffriBgWi 


[V. 

e  inefficient  draw- 
1  with  that  in  the 
e  type  of  this  saint 

become  apparent. 
;specially  spirited : 
gelico.  The  Last 
:orical  deHneation, 
[  the  walls  of  San 
1  the  Flagellation 

I  advise  attentive 
which  are  of  high 
e  same  subjects  in 

Graphic  account  of 
lian,  the  holy  phy- 
the  1<  er  L  hand 
ig  the  heavy  fees 
ather,  St.  Cosmo 
the  lady  asks  him 
'he  other  subjects 
leir  three  younger 
ide  to  drown  them, 
els  ;  to  bum  them 
r  persecutors;  to 
ecoil  on  the  heads 
und  to  strike  the 
il  effort  to  behead 
spt  St.  Denis  ever 
y,  delineated  with 
quisite  miniatured, 
rist.  They  formed 
le  complete  medi- 
!t  by  the  slightest 
ial  who  condemns 
lan  of  the  period ; 

:s  of  Vallombrosan 
ployed  in  commis- 


v.] 


THE  BELLE  ART  I 


131 


sions  for  that  monastery,  and  who  painted  for  it  his  magnifi- 
cent Assumption.  The  figures  are  those  of  the  General  of 
the  Order,  and  of  the  Abbot  of  the  monastery ;  and  they 
stood  originally  at  the  side  of  the  Assumption,  looking  up  at 
the  Virgin — whence  their  attitudes. 

Still  higher,  Madonna  and  Child,  by  Fra  Angelico, 
exhibiting  advance  in  freedom  of  treatment  over  the  more 
Giottesque  model  in  227.     Compare  these  carefully. 

249,  etc.,  other  little  panels  by  Fra  Angelico,  containing 
a  Pietk,  Adoration  of  the  Magi,  etc.,  with  scenes  in  the 
background. 

Beyond  these,  L,  continuation  of  the  Life  of  Christ  In 
the  Raising  of  Lazarus,  note  the  curious  swathing  of  the 
mummy-like  figure,  which  earlier  still  was  represented  as  an 
actual  mummy.  The  Entry  into  Jerusalem  contains  some 
excellent  characters.  The  Washing  of  the  Apostles'  feet 
betrays  Fra  Angelico's  lack  of  accurate  knowledge  in  per- 
spective and  foreshortening.  The  Last  Supper  has  points 
of  resemblance  with  the  mystic  treatment  in  San  Marco. 
In  Christ  before  Pilate,  notice  once  more  the  pure  medi- 
aevalisnt  of  the  treatment,  as  contrasted  with  such  Roman 
and  antiquarian  touches  as  are  given  to  similar  scenes  by 
Ghirlandajo  and  Filippino  Lippi.  The  Jewish  faces  of  the 
priests  are  admirably  rendered.  The  Betrayal  of  Christ 
has  the  usual  episode  of  Peter  cutting  off  the  ear  of 
Malchus. 

In  the  next  group,  253,  note  the  scorpion  tabards  of  the 
soldiers  on  the  Way  to  Calvary,  and  the  parting  of  the 
raiment.  Beneath  it,  Christ  in  Limbo  delivers  Adam  aid 
Eve  and  the  holy  dead,  among  whom  King  David  is  con- 
spicuous. Observe  the  red  cross  of  the  banner,  universal  in 
this  subject,  the  usual  demon  crushed  under  the  gate,  and 
the  others  baffled  in  the  L  background.  The  Last  Judgment 
beneath  it,  is  interesting  for  comparison  with  the  larger 
tabernacle  on  the  end  wall  of  this  room.  Observe  the 
attitude  of  Christ,  displaying  His  wounded  hands  in  mercy, 
as  in  most  representations  of  this  subject,  from  the  frescoes 
in  the  Campo  Santo  at  Pisa  onward.    (Compare  tb"^  fine 


I 


IT 


■MIMIM 


122 


FLORENCE 


[v. 


Fra  Bartolommeo  and  Mariotto  Albertinelli  in  the  Hospital 
of  Santa  Maria  Nuova.  A  study  of  this  subject,  beginning 
at  Pisa,  and  culminating  in  the  Sistine  Chapel,  is  most 
interesting.)  Note  the  Madonna,  apostles,  and  patriarchs, 
surrounding  the  Christ,  and  the  sweet  little  angels  below 
embracing  the  just,  among  whom  a  Dominican  figure  is 
conspicuous.  The  damned,  to  the  L  of  the  Saviour,  display 
Fra  Angclico's  usual  inability  to  deal  with  what  is  not 
ecstatic  and  beautiful. 

The  last  set  of  the  series,  containing  the  Passion,  Ascen- 
sion, etc.,  is  interesting  (amongst  other  things)  for  its 
Descent  of  the  Holy  Ghost,  with  the  various  nations  below 
hearing  the  apostles  speak  with  tongues,  which  may  be  well 
compared  with  the  fresco  in  the  Spanish  Chapel.  Not  one 
of  these  little  scenes  is  without  interest  from  the  point  of 
view  of  comparative  treatment  with  others  elsewhere.  Go 
through  them  carefully,  and  note  the  prophetic  verses. 

On  the  same  wall,  247,  the  Dominican  painter  has  also 
represented  the  School  of  the  great  Dominican  teacher, 
St.  Thomas  Aquinas,  with  the  three  discomfited  heretics 
(Averrhoes,  Sabellius,  Guillaume  de  St.  Amour)  at  his  feet 
as  usual.     Compare  the  Benozzo  Gozzoli  in  the  Louvre. 

Above  this,  246,  a  fine  Deposition,  with  a  few  adoring 
saints  who  do  not  belong  to  the  subject.  Amongst  them,  to 
the  L,  is  conspicuous  St.  Dominic.  This  picture  belonged 
to  a  religious  body  which  accompanied  condemned  criminals 
to  the  scaffold. 

End  wall,  257,  two  stories  from  the  lives  of  St.  Cosmo  and 
St.  Damian,  by  Fra  Angelico.  They  fix  the  leg  of  a  dead 
Moor  to  a  sick  white  man,  on  whom  they  have  practised 
amputation.  Below,  their  burial  with  their  three  brethren  : 
in  the  background,  a  somewhat  imaginative  camel,  denoting 
foreignness  and  orientalism. 

The  dainty  little  Annunciation  by  Ghirlandajo,  above, 
should  be  noticed. 

260.  Simone  Bolognese,  an  extremely  rude  but  interesting 
picture  of  the  Nativity,  where  the  star,  the  attitude  of  the 
ass,  the  shepherd  hearing  the  angels,  and  the  very  unreal 


Hi  in  the  Hospital 
subject,  beginning 
Chapel,  is  most 
!s,  and  patriarchs, 
little  angels  below 
>minican  figure  is 
le  Saviour,  display 
with  what  is  not 

he  Passion,  Ascen- 
er  things)  for  its 
■ious  nations  below 
which  may  be  well 

Chapel.  Not  one 
from  the  point  of 
srs  elsewhere.  Go 
)hetic  verses, 
n  painter  has  also 
>ominican  teacher, 
iscomfited  heretics 
Amour)  at  his  feet 
in  the  Louvre. 
mth  a  few  adoring 

Amongst  them,  to 
is  picture  belonged 
mriemned  criminals 

IS  of  St.  Cosmo  and 
(  the  leg  of  a  dead 
hey  have  practised 
eir  three  brethren  : 
ive  camel,  denoting 

]lhirlandajo,  above, 

rude  but  interesting 

the  attitude  of  the 

nd  the  very  unreal 


v.] 


THE  BELLE  ARTI 


133 

The  wattles 


sheep  in  the  foreground  should  all  be  noted, 
and  saddle  are  characteristic  of  the  subject. 

Above  it,  a  charming  early  Tabernacle,  259,  14th  century, 
with  the  Madonna  and  Child,  which  may  be  well  compared 
both  with  Giotto  and  Fra  Angelico.  On  the  wings  above, 
an  Annunciation,  with  the  Madonna  and  angel  separated  as 
usual :  notice  this  arrangement,  which  often  recurs.  Beneath 
is  a  Crucifixion  ;  with  St.  John  Baptist,  St.  Catherine  and 
other  saints.  This  is  one  of  the  most  beautiful  tabernacles 
of  its  period  :  its  fine  work  should  be  observed. 

266.  *Fra  Angelico's  celebrated  Last  Judgment,  a  picture 
which  may  be  well  compared  with  the  Orcagna  in  Santa 
Maria.  In  the  centre,  above,  Christ  in  a  mandorla,  sur- 
rounded by  adoring  angels  whose  symbolical  colours  and 
various  hierarchies  you  will  find  explained  by  Mrs.  Jameson. 
Beneath,  the  angels  of  the  last  trump.  R  and  L  of  the 
Saviour,  the  Madonna  and  St.  John  Baptist.  Then,  the 
apostles  and  patriarchs,  with  their  symbols,  among  whom 
may  be  noted  also  St.  Dominic  on  the  extreme  L  and  St. 
Francis  on  the  extreme  R,  with  other  monastic  founders, 
especially  of  Florentine  or  neighbouring  bodies,  (Vallom- 
brosans,  Camaldolesi.)  The  terrestrial  scene  hfs  for  its 
centre  a  vault  or  cemetery,  with  open  empty  tombs  from 
which  the  dead  have  risen,  (See  also  at  Pisa.)  To  the  L 
(the  Saviour's  R  as  usual)  are  the  blessed  risen,  welcomed  and 
embraced  by  charming  little  angels,  who  lead  them  onward 
as  in  a  mazy  dance  to  the  Heavenly  City.  The  robes  and 
orders  of  the  monks  should  be  observed,  as  also  the  various 
grades  of  popes,  bishops,  and  other  ecclesiastical  functionaries. 
Note  that  this  is  essentially  a  representative  assemblage  of 
the  Church  Trimnphant,  in  which,  it  must  be  admitted,  the 
lay  element  figures  but  sparingly.  To  the  R,  the  damned 
are  being  hurried  away  to  hell  by  demons.  Among  them 
are  not  only  the  great  and  mighty  of  the  earth,— kings, 
queens,  etc.,— but  also  false  monks  who  loved  money  better 
than  their  profession,  as  typified  by  the  bag  round  the  neck 
of  one  in  the  foreground.  Every  one  of  these  lost  souls  also 
is  representative.     Note  the  bats'  faces  and  wings  of  the 


i  i 


of 


mm 


^ibk 


124 


FLORENCE 


[V. 


demons.  To  the  extreme  R  is  Hell,  divided  into  the  usual 
mediaeval  regions,  and  best  explained  by  reference  to  Dante. 
(See  also  the  Orcagna  at  Santa  Maria  Novella)  The 
personal  devil  devouring  souls  below  recalls  the  figure  in  the 
Campo  Santo  at  Pisa.     Do  not  overlook  the  jaws  of  Death. 

Every  detail  of  this  interesting  picture  should  be  noted 
and  carefully  studied.  Nothing  can  be  lovelier  than  the 
scene  of  angelic  peace  on  the  R  ;  few  things  uglier  than  the 
opposite  torments,  attributed,  as  usual,  to  another  hand. 
The  picture  comes  from  the  monastery  degli  Angeli  in 
Florence,  whence  the  large  and  charming  part  assigned  in  it 
to  angels. 

Above  it,  265,  MoJcnna  and  Child  with  saints,  by  Fra 
Angelico.  Compare  the  cupola  and  niches,  from  the  point 
of  view  of  evolution,  with  those  of  the  large  picture  almost 
opposite.  To  the  L,  a  group  of  Franciscan  saints,  Antony 
of  Padua,  Louis  of  Toulouse,  and  Francis  :  (it  comes  from  a 
Franciscan  retreat  at  Mugello.)  To  the  R,  the  Medici 
saints,  Cosmo  and  Damian,  and  St.  Peter  Martyr.  The 
child  is  here  nude,  a  rare  case  with  Fra  Angelico.  Note 
always  this  point,  and  observe  its  early  occurrences. 

Close  by,  268  and  269,  Two  little  panels  of  the  i6th 
century,  interesting  fc  their  treatment  of  the  Annunciation, 
and  St.  Thomas  Aquinas  and  St  Dominic. 

L  wall,  272,  an  interesting  St.  Elizabeth  of  Hungary, 
sheltering  under  her  mantle  her  votaries.  The  arrangement 
of  the  mantle  and  the  angels  who  sustain  it  should  be  noted 
as  characteristic  of  similar  subjects,  common  elsewhere. 

By  the  window  wall,  several  early  panel  pieces,  the  most 
interesting  of  which  is  277,  with  St.  Francis  receiving  the 
Stigmata,  where  the  seraph,  saint.  Brother  Leo,  and  attend- 
ant buildings,  are  all  characteristic.  Compare  the  Giotto 
in  another  room  in  this  building.  Tht  St.  Paul  on  the  way 
to  Damascus  is  a  less  usual  subject,  interestingly  treated. 
Note  that  the  sword  has  not  been  forgotten. 

277.  Another  St  Francis  receiving  the  Stigmata,  closely 
resembling  the  picture  in  the  Louvre  of  the  same  subject 
Compare  all  the  examples  of  this  theme  in  the  present 


led  into  the  usual 
iference  to  Dante. 
»  Novella)  The 
Is  the  figure  in  the 
he  jaws  of  Death. 
I  should  be  noted 
lovelier  than  the 
igs  uglier  than  the 
to  another  hand. 
f  degli  Angeli  in 
part  assigned  in  it 

ith  saints,  by  Fra 
es,  from  the  point 
rge  picture  almost 
:an  saints,  Antony 
:  (it  comes  from  a 
le  R,  the  Medici 
Iter  Martyr.  The 
1  Angelico.  Note 
currences. 
anels  of  the  i6th 
the  Annunciation, 

beth  of  Hungary, 
The  arrangement 
it  should  be  noted 
ion  elsewhere. 
:1  pieces,  the  most 
ncis  receiving  the 
r  Leo,  and  attend- 
)mpare  the  Giotto 
t.  Paul  on  the  way 
erestingly  treated. 
:n. 

i  Stigmata,  closely 
'  the  same  subject, 
ne  in  the  present 


V.l 


THE   BELLE  ART  I 


125 


IP 


gallery,  noting  the  position  of  the  Seraph-winged  Christ,  the 
buildings,  etc. 

381.  Fra  Angelico,  another  Madonna  and  Child,  with 
characteristic  angels.  In  the  foreground,  with  its  singular 
early  Romanesque  mosaic,  (which  should  be  carefully  noted,) 
the  Medici  saints  kneeling.  To  the  R,  the  two  great 
Dominicans,  St.  Dominic  and  Peter  Martyr,  with  St. 
Francis.  To  the  L  St.  Lawrence,  St.  John  Baptist,  St. 
Stephen. 

This  is  a  fine  altar-piece,  though  greatly  damaged.  Note 
always  whether  the  Christ  holds  a  globe,  a  goldfinch,  or  a 
pomegranate. 

In  the  next  window,  a  series  of  stories  by  Granacci, 
sufficiently  described  by  their  labels,  but  worthy  of  all 
attention. 

On  the  easel  263,  Filippo  Lippi,  the  Annunciation 
(curiously  divided,)  and  St.  John  Baptist  of  Florence.  This 
is  a  single  shutter,  with  the  other  half  in  264,  where  St 
Antony  balances  the  Baptist. 

291.  A  Trinity  of  the  isth  cent.  Notice,  in  the  predella, 
the  arrangement  of  the  arcade  in  the  Annunciation,  with  the 
garden  in  the  backgro  md.  R  and  L,  angelic  subjects  ;  St. 
Michael  and  the  Dragon,  St.  Raphael  and  Tobias.  The 
delicious  naivetd  of  the  last  is  worthy  of  attention. 

It  is  impossible  to  enter  in  detail  into  all  the  works  in  this 
small  room,  with  its  rich  collection  of  early  panel  pictures. 
The  visitor  should  return  to  them  again  and  again,  spelling 
out  their  further  meaning  for  himself  by  the  light  of  the 
hints  here  given,  or  the  official  catalogue.  But  the  more  you 
make  out  for  yourself,  the  better.  Remember  that  every 
figure  is  identifiable,  and  that  each  in  every  case  has  then 
and  there  its  special  meaning.  Fully  to  understand  these, 
you  should  afterwards  consult  either  the  catalogue,  or,  still 
better,  the  description  of  the  principal  pictures  m  Lafenestre's 
Florence.  Also,  I  cannot  too  strongly  recommend  that  you 
should  ^o  from  one  picture  of  a  subject  to  another  of  the 
same  in  this  collection,  observing  the  chronology  of  the 
works,  and  the  evidences  which  they  show  of  progress  in 


.imm^mmm(Mi0smmm-mm*,-^. 


126 


FLORENCE 


[V. 


art-evolution.  As  a  single  example  of  what  I  mean,  take 
the  Annunciations  in  this  Gallery,  and  follow  them  out  care- 
fully. Or  again,  look  at  the  group  of  saints  on  either  side 
of  the  Saviour  in  366.  Note  here  on  the  L  the  white  starry 
robe  of  the  Madonna,  as  Queen  of  Heaven.  Next  her,  St. 
Peter  with  his  conventional  features,  and  his  two  keys  of 
gold  and  iron.  Then,  beside  him,  Moses,  distinguishable  by 
his  horns  of  light  and  by  the  Hebrew  inscription  on  the 
tablets  he  carries.  In  the  opposite  group,  observe  similarly, 
in  the  place  of  honour,  St.  Paul  with  his  sword,  close  beside 
the  Baptist,  behind  whom  stands  St.  Agnes  with  her  Iamb, 
and  next  to  her,  King  David.  Above  St.  Dominic,  once 
more,  to  the  extreme  L  of  the  group,  the  dove  whispering  at 
his  ear  marks  the  figure  of  St.  Gregory  ;  close  by  whom  the 
deacon  with  the  palm  of  martyrdom  and  the  bleeding  head 
is  seen  to  be  St.  Stephen.  I  will  not  go  through  the  whole 
of  this  interesting  group,  but  attentive  study  of  the  symbols 
will  enable  you  to  identify  every  one  of  them.  Do  not  be 
satisfied  with  your  study  of  the  picture  until  you  are  sure 
that  you  have  understood  all  its  details.  If  it  was  worth 
Fra  Angelico's  while  to  discriminate  them  by  signs,  it  is 
,«urely  worth  your  while  to  spend  a  few  seconds  each  over 
.hem.  A  useful  little  book  for  identifying  saints,  which  also 
gives  you  an  account  of  the  robes  of  the  various  monastic 
orders,  is  Miss  Greene's  Saints  and  their  Symbols.  You  can 
get  it  at  any  bookseller's  in  Florence.  You  cannot  do  better 
than  test  this  picture  by  the  light  so  thrown  upon  it. 

Again,  in  254,  the  Entombment,  notice  the  positions  of 
.he  Crown  of  Thorns  and  the  nails  in  the  foreground,  upon 
which  equal  stress  is  laid  in  the  great  Descent  from  the 
Cross  by  the  same  painter,  which  stands  on  the  easel  beside 
Gentile  del  Fabriano's  Adoration  of  the  Magi.  Recollect  in 
this  connection  the  importance  given  to  these  relics  from  the 
13th  century  onward,  by  their  purchase  from  the  Emperor  of 
the  East  by  St.  Louis  of  France,  who  had  erected  the  Sainte 
Chapelle  on  purpose  to  contain  them.  The  legend  of  their 
preservation  had  therefore  great  prominence  in  the  13th, 
14th,  and  early  15th  cent>.,  and  it  was  important  that  illus* 


'.m^KBmmmm: 


[V. 

r  what  I  mean,  take 
illow  thetn  out  care- 
saints  on  either  side 
le  L  the  white  starry 
ven.  Next  her,  St. 
nd  his  two  keys  of 
s,  distinguishable  by 
'  inscription  on  the 
p,  observe  similarly, 

sword,  close  beside 
gnes  with  her  lamb, 

St.  Dominic,  once 
!  dove  whispering  at 

close  by  whom  the 
d  the  bleeding  head 
a  through  the  whole 
tudy  of  the  symbols 

them.  Do  not  be 
e  until  you  are  sure 
s.  If  it  was  worth 
them  by  signs,  it  is 
'  seconds  each  over 
g  saints,  which  also 
:he  various  monastic 
•  Symbols,  You  can 
f  ou  cannot  do  better 
>wn  upon  it. 
ice  the  positions  of 
le  foreground,  upon 
t  Descent  from  the 
I  on  the  easel  beside 
Magi.  Recollect  in 
these  relics  from  the 
"rom  the  Emperor  of 
d  erected  the  Sainte 
The  legend  of  their 
inence  in  the  13th, 
mportant  that  illus* 


v.] 


THE  BELLE  ART  I 


137 


trations  of  the  subject  should  contain  some  reference  to  the 
mode  in  which  these  much-revered  relics  were  saved  for  the 
adoration  of  posterity.  I  offer  this  hint  merely  to  show 
the  way  in  which  legend  and  doctrine  reacted  upon  art 
in  the  Middle  Ages.  Look  similarly  for  the  nails  in  the 
Descent  from  the  Cross  by  Filippino  Lippi  and  Perugino  in 
the  2nd  Botticelli  Room,  and  in  Botticelli's  Madonna,  88, 
in  the  same  room,  where  an  angel  holds  them  as  well  as  the 
Crown  of  Thorns.  You  will  find  in  like  manner  that  the 
series  of  the  Life  of  Christ  by  Fra  Angelico  in  this  room  has 
i.i  each  case  above  the  picture  a  prophecy  from  the  Old 
Testament,  and  below,  a  verse  supposed  to  be  its  fulfilment 
from  the  New.  The  more  you  observe  these  facts  for  your- 
self, the  better  will  you  understand  both  the  details  intro- 
duced into  the  pictures  themselves  and  the  reason  for  their 
selection.  Mediaeval  art  embodies  a  dogmatic  theology 
and  a  theory  of  life  and  practice.  It  can  never  be  fully  com- 
prehended without  some  attention  to  these  facts  which 
condition  it. 

Visit  the  Belle  Arti  often  :  it  contains,  on  the  whole,  the 
finest  pictures  in  Florence.  When  you  have  got  beyond 
these  notes,  go  on  with  Lafenestre  ;  or  else  buy  the  official 
catalogue,  which  is  in  very  easy  Italian  ;  it  gives  you  always 
the  original  place  for  which  the  pictures  were  painted.  Do 
not  be  satisfied  till  you  understand  them  all.  And  compare, 
as  you  go,  with  the  frescoes  in  churches  and  the  works  in  the 
Ufiizi.    The  way  to  comprehend  early  art  is  by  comparison. 


VI 

THE    UFFIZI,  ETC 

r'T~*HE  centre  of  modern  Florence  is  occupied  by  the 
L  X  Piazza  dellaSlKnorla,  which  contains  the  Palazzo 
Vecchio  and  the  Loggia  del  Lanzl.  This  square 
was  once  the  Forum  of  the  Republic,  and  round  it  revolved 
the  political  and  social  life  of  early  Florence. 

Ill  the  13th  century  the  Bargello  (to  be  visited  later)  was 
the  seat  of  the  Florentine  Government.  But  in  1298,  about 
the  same  time  when  Santa  Croce  and  the  Cathedral  were 
rising  above  their  foundations,  the  City  began  to  feel  the 
want  of  a  second  stronghold  for  its  new  democratic  (or 
oligarchic)  authorities,  and  of  a  fitting  hall  for  its  deliberative 
assemblies.  In  that  year,  therefore,  the  Signoria  commis- 
sioned the  great  Arnolfo  di  Cambio,  who  was  already  engaged 
in  building  the  Duomo,  to  begin  the  erection  of  a  vast 
castle,  now  known  as  the  Palazzo  Vecchia  It  was  evi< 
dently  based  in  idea  upon  the  Palazzo  Pubblico  in  the  rival 
town  of  Siena,  the  foundations  of  which  appear  to  have  been 
laid  some  nine  years  earlier.  The  greater  part  of  the  build- 
ing as  it  now  stands  represents  Amolfo's  original  work, 
though  the  upper  portion  of  the  slender  tower  is  of  the  ijth 
century,  while  the/a(at/e  towards  the  Via  del  Leone  at  the 
back  was  added  by  Vasari  in  154a  The  courtyard  and 
porch  have  also  suffered  great  alterations. 

The  Palazzo  Vecchio  in  its  original  form  was  strictly  the 
Castle  of  the  Guilds  of  Florence,  which  had  imposed  their 
rule  in  the  13th  century  over  the  whole  city.  It  was,  in 
short,  the  stronghold  of  the  commercial  oligarchy.  The 
early  government  of  Florence  had  been  mainly  aristocratic, 
and  all  its  functions  were  performed  by  the  nobles  :  but  by 


mm 


is  occupied  by  the 

ontains  the  Palazzo 

■anzi.    This  square 

d  round  it  revolved 

ince. 

)c  visited  later)  was 

But  in  1 398,  about 
the  Cathedral  were 
y  began  to  feel  the 
new  democratic  (or 
II  for  its  deliberative 

Signoria  commis* 
as  already  engaged 
erection  of  a  vast 
cchla  It  was  evi> 
ubblico  in  the  rival 
appear  to  have  been 
er  part  of  the  build- 
olfo's  original  work, 
tower  is  of  the  isth 
a  del  Leone  at  the 
The  courtyard  and 
s. 

trm  was  strictly  the 
:h  had  imposed  their 
>le  city.  It  was,  in 
ial  oligarchy.  The 
mainly  aristocratic, 
the  nobles  :  but  by 


VI.] 


THE   UFFIZI,   ETC 


139 


1382  the  Arts  or  Guilds,  among  which  the  Wool-Weaveri 
and  Silk-Workers  were  the  most  important  members,  had 
gained  possession  of  the  executive  power,  which  they  en- 
trusted to  iheir  own  Priori  or  Guild-Masters.  The  body 
thus  installed  in  the  Palazzo  Vecchio  was  known  as  the 
SIcnoria  :  it  retained  power  in  Florence  until  the  {{radual 
rise  of  the  democratic  despotism  of  the  Medici,  a  wealthy 
commercial  family  who  favoured  the  people,  and  finally 
made  themselves  in  the  16th  century  Grand  Dukes  of  Tus- 
cany. (See  Villari.)  The  fortress-like  appearance  of  the 
Palace  is  due  to  the  fact  that  the  commercial  oligarchy  had 
to  hold  its  own  by  force  wiihin  the  city  against  the  great 
nobles  on  the  one  hand,  and  popular  rising  on  the  other. 
All  Florence,  in  fact,  is  clearly  built  with  a  constant  eye  to 
internal  warfare. 

In  1376,  the  Piazza  della  Signoria  was  further  decorated 
by  the  erection  of  the  Loggia  del  Lanzl,  a  magnificent 
vaulted  arcade  for  the  performance  of  public  functions  before 
the  eyes  of  the  citizens.  This  noble  buildii  g  was  perhaps 
designed  by  Orcagna,  but  was  certainly  carried  out  by  Benci 
di  Cione  and  Simone  di  Francesco  Talenti.  It  exhibitf  the 
same  curious  combination  of  round  arches  with  Gothic  detail 
which  is  also  seen  in  the  neighbouring  church  of  Or  San 
Michele— the  chapel  of  the  Guilds.  The  arcade  was  known 
at  first  as  the  Loggia  de'  Priori  or  della  Signoria ;  it  gained 
its  present  name  under  Cosimo  I.,  who  stationed  here  hia 
German  lance- wien. 

I  do  not  rtdvise  a  visit  to  the  Interior  of  the  Palazzo 
Vecchio  until  after  you  have  seen  everything  else  of  impor- 
tance in  Florence,  when  Baedeker's  account  will  be  amply 
sufficient.  But  a  cursory  inspection  of  the  exterior,  and  of 
the  general  features  of  the  Piazza,  is  necessary  to  an  under- 
standing of  Florentine  history.  As  you  will  already  have 
seen  in  the  picture  at  San  Marco,  Savonarola  was  burnt  at 
the  stake  in  thii  square,  near  the  spot  now  occupied  by  the 
Fountain  of  Nr  ptune]. 


1 


II 


FLORENCE 


tw. 


I.    The  Sionoria. 

Go  alon^;  any  street,  ai  far  aa  the  Duomo  :  then,  turn 
down  the  ViatJalsaioli.  On  your  h,  as  you  turn  the  comer, 
is  the  beautiful  I'ttle  Lo^fgia  of  the  *  Blgalio,  probably 
designed  by  Oreagna,  and  built  in  1353.  Notice  here  the 
peculiar  Florentine  combination  of  round  arches  with  Gothic 
architecture.  The  statues  over  the  front,  towards  the  1  iazta, 
by  Filippo  di  Cristoforo,  represent  a  Madonna  and  Child, 
flanked  by  St.  Dominic  and  St.  Mary  Magdalen. 

Continue  down  the  Via  Calzaioli  till  you  come  to  the 
Piazza  della  Slgnorla.  Observe  tht/aftui*  of  the  Palazzo 
Vecchlo.  Then,  enter  the  Outer  Court,  built  by  Micliel- 
oxzo  (whose  hand  you  will  now  recognise)  in  the  Renaissance 
style,  in  1432.  The  elaborate  decorations  were  added  in 
1565  :  though  very  florid,  they  have  a  certain  picturesqueness 
which  is  not  unpleasing.  The  centre  is  occupied  by  a 
charming  little  *  fountain,  by  Verocchio,  representing  a 
Boy  on  a  Dolphin.  The  surrounding  Sculpture*,  as  well 
as  those  at  the  door,  are  by  inferior  Renaissance  artists,  and 
quite  uninteresting;.  So  is  Bartolommeo  Ammanati's  Qreat 
Fountain,  in  the  square,  with  Neptune  and  Tritons.  The 
equestrian  *  statue  (in  hronie)  of  Cosimo  I.,  by  Giovanni  da 
Bologna,  is  scarcely  more  interesting.  It  has  high  technical 
merit,  but  lacks  grace  or  beauty. 

(Michael  Angelo's  David  stood  till  recently  at  the  door  ol 
the  Palazzo  Vecchio.  So  did  the  Marzocco,  at  present  in  the 
Bargello.) 

Now,  turn  to  the  Loggia  del  I,  '  *.  Note  the  noble 
sweep  of  the  large  round  arches,  e  ad  the  character  of  the 
decorations  Observe  its  resemblance  (on  a  larger  scale)  to 
the  Bigallo.  The  figures  on  the  frieze  above  are  after 
designs  by  Agnolo  Gaddi,  and  are  fine  examples  of  the 
characteristic  Gothic  allegorical  personages,  with  incipient 
Renaissance  leanings.  They  represent  Faith,  Hope,  Charity, 
Temperance,  and  Fortitude.  Identify  the  symbols  with  an 
opera-glass. 

Of  the  pieces  of  Sculpture  within  the  Loggia,  by  far  the 
most  important  are  the  two  bronzes 


mtim 


^1 1..  g  11,1  ii  mmm  9mn'Mv<xw*  awWaP' 


m 


Duomo  :  then,  turn 
you  turn  the  comer, 
^  BIgalio,  probably 
I.  Notice  here  the 
1  arches  with  Gothic 
,  townrils  the  liaz/ii, 
[adonna  and  Child, 
agdalen. 

I  you  come  to  the 
If  ad*  of  the  Palazzo 
rt,  built  by  Michel- 
)  in  the  Renaissance 
ona  were  added  in 
tain  picturesqueness 
e  is  occupied  by  a 
:hio,  representing  a 
Sculpturea,  as  well 
aissancc  artists,  and 
)  Ammanati's  Qreat 
and  Tritons.  The 
a  I.,  by  Giovanni  da 
It  has  high  technical 

ently  at  the  door  ot 
:co,  at  present  in  the 

'.  Note  the  noble 
he  character  of  the 
)n  a  larger  scale)  to 
ze  above  are  after 
ne  examples  of  the 
ages,  with  incipient 
'aith,  Hope,  Charity, 
iie  symbols  with  an 

i  Loggia,  by  far  the 


VI) 


THE   VFFIZI,  ETC 


131 


The  one  facing  the  I'iazza,  to  the  L  of  the  steps,  is 
**  Benvenuto  Celllnl'a  Peraeut,— one  of  the  most  perfect 
works  of  its  kind  ever  cast  in  mstal.  The  iightne^it  and 
delicacy  of  the  workmanship,  the  uiry  coquettish  grace  of 
thu  young  hero,  as  he  holds  aloft  the  head  of  the  slaughtered 
Medusa,  have  never  been  equalled  in  their  own  peculiar 
bravura  manner.  The  work,  however,  is  rather  th.it  of  a 
glorified  artistic  silversmith  than  of  a  fcui^tor  properly  so 
called.  You  can  see  in  every  line  and  limb  that  the  effects 
aimed  at,— and  supremely  attaincd,~are  those  of  decorative 
metnl-work,  not  those  of  greater  bronies  and  marbles. 
Cellini  has  here  transcended  the  proper  limits  of  his  peculiar 
art  ;  and  he  has  done  so  triumphantly.  The  result  justifies 
him  Stand  and  look,  long  and  often,  at  this  perfect  marvel 
of  technical  excellence.  When  you  have  exhausted  the 
central  figure,  turn  to  the  reliefa  and  atatuettea  at  the 
base,  also  by  Cellini.  (The  relief  in  front,  *  Perseus  rescui  ,g 
Andromeda,  is  a  ccpy ;  the  original  you  will  see  when  you  visit 
the  Bargello.)  The  *  four  admirable  figures  in  the  niches 
represent  respectively,  Jupiter  (Zeus)  the  father  of  Perseus  ; 
Danac',  his  mother ;  Minerva  (Athen^) ;  and  Mercury 
(Hermes),  both  of  whom  befriended  him.  (Read  up  the 
story  in  a  Classical  Dictionary,  if  you  do  not  already  know 
it.)  The  Latin  verses  on  the  base  are  neat  and  appro- 
priate. 

The  second  bronze,  round  the  corner  towards  the  Uffizi, 
is  *  Oonatoiio'a  Judith,  with  the  head  of  Holofernes, 
erected  in  front  of  the  Palazzo  Vecchio  after  the  expulsion  of 
the  Medici.  It  bears  the  inscription,  "  Salutis  Publicse 
Exemplum."  The  work,  however,  is  heavy  and  confused, 
and  shows  that  Donatello  had  not  yet  wholly  mastered  the 
art  of  modelling  for  bronze-casting.  The  reliets  below  are 
better,  especially  that  of*  Cupid  and  Psyche. 

The  other  sculpture  in  the  Loggia  is  of  less  importance. 
By  the  atepa,  two  lions  ;  to  the  R,  antique ;  to  the  L, 
by  Flaminio  Vacca.  Under  the  arch,  R,  marble  group  of 
the  *  Rape  of  the  Sabines,  by  Giovanni  da  Bologna,  with 
gcod  *  relief  beneath  it.    Within,  L,  modern  group  of  the 


1 


;«*35St'as-'^.'«'-aw*- 


132 


FLORENCE 


[VI. 


Rape  of  Polyxena,  by  Fedi,  not  wholly  unworthy  of  the 
company  in  which  it  finds  itself.  Centre,  the  ♦  Dying  Ajax 
(or  perhaps,  Menelaus  with  the  body  of  Patroclus)  a  good 
antique,  probably  a  Greek  original ;  another  example  of  the 
same  exists  at  Rome,  where  it  is  known  as  Pasquino.  This 
replica  has  been  greatly  restored.  R,  Hercules  slaying  the 
Centaur  Nessus,  by  Giovanni  da  Bologna  :  frigid.  By  the 
back  wall,  five  antique  portrait-statues  of  Vestals  or 
Priestesses:  together  with  a  *  heroic  barbarian  female 
figure,  known  as  the  Thusnelda  (3rd  on  the  l),  and  remark- 
able for  its  powerful  expression  of  grief  on  a  fine  half-savage 
countenance. 

3.  The  Uffizi. 
In  visiting  the  Uffizi,  you  proceed  round  the  corner  from 
the  Loggia^dei  Lanzi,  and  enter  a  spacious  quadrangle,  a 
narrow  oblong  in  shape,  and  open  at  the  side  towards  the 
Palazzo  Vecchio.  The  Palazzo  degll  Uffizi,  which  girdles 
this  quadrangle,  was  erected  as  public  offices  (whence  the 
name)  by  Vasari,  in  1560,  and  completed  by  Alfonso  Parigi, 
in  1580.  Round  the  b"'=r  floor  runs  a  continuous  arcade, 
the  Portico  degli  Uffizi,  the  nich-js  of  which,  after  remaining 
long  empty,  have  boen  adorned  in  our  own  time  with  a 
series  of  marble  statues  of  distinguished  Tuscans,  all  named 
below,  which  it  is  well  worth  while  some  day  to  go  round  and 
inspect  or  identify.  The  building  contains,  in  its  lower 
portion,  the  Post  Office,  the  Central  Archives  of  Tu-^  any, 
and  the  National  Library ;  but  of  course  to  the  visitor  its 
chief  importance  is  derived  from  the  Picture  Gallery  and 
iSculpture  on  the  Upper  Floor. 

[The  Coilectlous  in  the  Uffizi  are,  on  the  whole,  the  most 
important  and  valuable  in  Florence.  In  painting,  it  is  true, 
the  Gallery  contains  fewer  fine  works  of  the  great  Early 
Renaissance  artists  th-n  does  the  Belle  Arti ;  but  on  the 
other  hand,  it  is^ich  in  paintings  by  Raphael,  it  has  some 
noble  designs  by  Leonardo  and  Fra  Bartolommeo,  and  it 
represents  morejfttUy  than  the  rival  gallery  the  pictorial  art 


■^msff^mmsmisss^ 


.  M,.:i  Wiii{y*^*«5i&^i^Sif^'iMi'.i-»-? 


■i 


[VI. 

oily  unworthy  of  the 

tre,  the  *  Dying  Ajax 
of  Patroclus)  a  good 
nother  example  of  the 
m  as  Pasquino.    This 

Hercules  slaying  the 
ogna  :  frigid.  By  the 
tatues   of   Vestals    or 

oic  barbarian  female 
>n  the  l),  and  remark- 
:f  on  a  line  half-savage 


round  the  comer  from 

ipacious  quadrangle,  a 

the  side  towards  the 

1  Uffizi,  which  girdles 

ic  offices  (whence  the 

ited  by  Alfonso  Parigi, 

s  a  continuous  arcade, 

which,  after  remaining 

our  own  time  with  a 

hed  Tuscans,  all  named 

me  day  to  go  round  and 

contains,  in  its  lower 

Archives  of  Tu'  any, 

ourse  to  the  visitor  its 

:  Picture  Qallery  and 


on  the  whole,  the  most 
In  painting,  it  is  true, 
Ics  of  the  great  Early 
telle  Arti ;  but  on  the 
y  Raphael,  it  has  some 
i  Bartolommeo,  and  it 
(allery  the  pictorial  art 


VI.] 


THE   UFFIZI,    ETC 


133 


of  the  High  Renaissance.  Moreover,  it  is  no/  confine  .  to 
Tuscan  and  Umbrian  works  (to  which  nevertheless  I  advise 
you  in  Florence  mainly  to  address  yourself)  but  has  some 
admirable  North  Italian  and  Venetian  specimens,  by  Man- 
tegna,  Titian,  Giorgione,  and  others.  Outside  Italy  alto- 
gether, it  also  embraces  some  noble  Flemish,  German,  and 
Dutch  works,  which  it  will  be  impossible  for  you  to  pass  by 
wholly  unnoticed.  Then,  finally,  it  has  in  addition  its  col- 
lection of  Sculpture,  including  several  famous  works,  once 
unduly  over-praised,  as  well  as  many  antiques,  less  cele- 
brated in  their  way,  but  often  more  deserving  of  serious 
attention.  I  have  endeavoured  to  note  in  passing  the  most 
important  of  all  these  various  treasures,  giving  most  atten- 
tion, it  is  true,  to  Tuscan  and  Umbrian  handicraft,  but  not 
neglecting  th-  products  of  other  schools,  nor  the  antiqu-i 
sculpture. 

As  everywhere,  my  aim  here  has  been  purely  explanatory. 
If  at  times  I  have  diverged  into  an  occasional  expression  of 
aesthetic  approbation  or  the  opposite,  I  hope  the  reader  will 
bear  in  mind  that  I  never  pretend  ^o  do  so  with  authority, 
and  that  my  likes  and  dislikes  are  merely  those  of  the 
a-erage  man,  not  of  the  professed  critic. 

Do  not  attempt  to  see  all  the  Uffizi  at  one  visit,  or  even 
any  large  part  of  it.  Begin  with  a  little  bit,  and  examine 
that  thoroughly.  Do  not  try  to  combine  the  paintings  and 
sculpture  in  any  one  room ;  observe  then,  separately  on 
different  occasions.  Follow  for  each  class  the  general  order 
here  given  j  you  will  then  find  the  subject  unfold  itself 
naturally.  Study  Baedeker's  excellent  Plan  of  the  rooms 
b»fore  you  go  in.  Recollect  that  the  Galleries  extend,  in 
th  ee  arms,  right  round  the  top  floor  of  the  entire  building, 
as  sran  from  outside  j  this  will  help  you  to  understand 
the  ground- plan  of  the  rooms,  as  well  as  the  charming 
glimpses  nnd  views  from  the  windows. 

A  passage,  built  quaintly  over  houses  and  .;hops,  and 
distinguishable  outside,  crosses  the  Ponte  Vecchio  from  the 
Uffizi  to  the  Pitti.  It  was  designed  by  the  Medici  as  a 
means  of  intercommunication,  ana  also  as  a  place  of  possible 


I 


'^TTf^^S 


|t««-;rV4^i>>(''ir'J>'A4*j:,iiM'-lit.i^.- 


:-\Sl0 


escape  m  case  of  risings  or  other  danger.  You  can  cross 
by  means  of  it  from  one  Gallery  to  the  other  ;  but  you  must 
pay  an  extra  franc  for  entrance  in  the  middle.] 

A.    Paintings. 

Approach  from  the  Piazza  della  Signoria.  The  entrance 
is  by  the  second  door  under  the  portico  on  the  left  hand  side 
of  the  Uffizi  Palace.  Umbrellas  and  sticks  are  left  below ; 
tickets  (one  franc  each,  free  on  Sundays)  are  taken  half-way 
up  the  stairs,  which  are  numerous  and  tedious.  (Lift,  50  c. 
each  person.)  Admission  daily,  from  10  to  4.  (The  statues 
and  busts  on  the  Staircase  and  in  the  Vestibule,  etc,  will  be 
treated  separately,  with  the  other  sculptures.) 

The  Iwong  Gallery,  which  we  first  enter,  contains  for  the 
most  part  eftrly  works  in  painting,  many  of  which  are  of 
comparatively  slight  artistic  importance.  I  advise  you  to 
begin  with  the  paintings  alone,  not  attempting  to  combine 
them  with  the  sculpture  in  the  same  day.  Turn  to  the  R  on 
entering  the  gallery,  and  start  at  the  end  of  the  room  with 
the  oldest  pictures. 

I  is  a  Gr<£co-Byzantine  Madonna,  (loth  cent.)  interesting 
as  representative  of  the  starting-point  of  Italian  art.  It 
should  be  compared  with  2,  an  Italian  picture  aiming  at  the 
same  style,  (12th  cent.)  which  again  leads  up  (at  a  distance) 
to  the  Cimabue  in  Santa  Maria  Novella.  Observe  the  superior 
technique  of  the  Byzantine.  These  early  Madonnas  deserve 
close  attention. 

3  is  a  Crucifbc,  where  the  position  of  the  Madonna  and  SL 
John  on  the  ends  of  the  arms  is  highly  characteristic  :  the 
type  survives  till  quite  a  late  period.  By  its  sides  are  small 
scenes  from  the  Passion,  the  types  in  which  should  be  ca;'«- 
fully  noted.  The  face  of  the  St.  Peter,  for  example,  in  the 
upper  L  compartment,  already  strikes  a  keynote  ;  while  the 
Christ  in  Limbo,  delivering  Adam  and  Eve  from  the  jaws 
of  death,  contains  all  the  salient  elements  which  you  will 
find,  improved  and  transformed  in  later  versions.  Note  in 
crucifixes  the  point  where  the  two  separate  nails  in  the  feet, 
seen  in  tkis  example  and  the  next,  are  replaced  by  the  single 


3 


[VI. 


VI.] 


THE   UFFIZI,   ETC 


135 


ir. 


You  can  cross 
her ;  but  /ou  must 
Idle.] 


■a.    The  entrance 

the  left  hand  side 
ks  are  left  below ; 
are  taken  half-way 
idious.  (Lift,  50  c. 
to  4.  (The  statues 
stibule,  etc,  will  be 
res.) 

er,  contains  for  the 
ly  of  which  are  of 
.  I  advise  you  to 
npting  to  combine 
Turn  to  the  R  on 
of  the  room  with 

h  cent.)  interesting 
of  Italian  art.  It 
:turc  aiming  at  the 
s  up  (at  a  distance) 
)bserve  the  superior 
Madonnas  deserve 

e  Madonna  and  St. 
characteristic  :  the 
'  its  sides  are  small 
ich  should  be  ca;s- 
for  example,  in  the 
keynote;  while  the 
Eve  from  the  jaws 
nts  which  you  will 
versions.  Note  in 
:e  nails  in  the  feet, 
ilaced  by  the  single 


Observe  also  whether  the  eyes 


nail,  a  later  representation, 
are  open  or  closed. 

4  has  the  same  devices  of  towers  and  canopies,  to  mark 
towns  and  interiors,  to  which  I  have  already  called  attention 
in  the  barbaric  Magdalen  at  the  Belle  Arti. 

6,  a  Crucifix  with  the  single  nail,  has  the  position  of  St. 
John  and  the  Virgin  well-marked  on  the  cross-pieces.  The 
pelican  feeding  her  young  above  is  symbolical.  It  recurs 
often.  I  do  not  dwell  upon  these  very  early  works,  as  they 
lack  artistic  interest  :  but  the  visitor  who  takes  the  trouble 
to  examine  them  in  detail,  as  well  as  the  Madonnas  in  their 
neighbourhood,  will  be  repaid  for  his  trouble.  For  example 
5,  by  Guido  da  Siena,  an  important  early  Sienese  master, 
marks  decided  advance  upon  2,  and  leads  the  way  to  the 
later  Sienese  manner,  which  is  already  present  in  embryo  in 
this  picture. 

In  7,  do  not  overlook  Peter  and  Paul,  and  St.  Catherine 
between  the  wheels,  in  the  predella. 

8.  A  fine  altar-piece,  attributed  to  Giotto,  of  the  Agony  in 
the  Garden,  where  the  angel  with  the  literal  cup  and  the 
three  sleeping  Apostles  are  highly  characteristic  of  the  type. 
You  have  seen  them  elsewhere  in  later  examples.  Note  the 
little  figure  of  the  donor  at  the  side.  The  Kiss  of  Judas  and 
the  Parting  of  the  Raiment  in  the  predella  must  not  be 
omitted. 

9.  A  Florentine  altar-piece,  where  the  Madonna  and  Child 
are  flanked  by  the  patron  of  the  city  (St.  John  Baptist),  and 
the  local  bishop,  San  Zanobi,  identifiable  by  the  Florentine 
lily  on  his  morse  or  buckle. 

10.  St.  Bartholomew  enthroned,  with  his  usual  knife,  and 
angels  recalling  the  manner  of  Cimabue,  was  of  course 
painted  for  an  altar  dedicated  to  the  saint.  Note  these 
saints  enthroned,  in  the  same  way  as  Our  Lady,  often  with 
other  saints  forming  a  court  around  them. 

Beside  it,  two  Giottesque  Crucifixions,  in  the  first 
which,  13,  the  position  of  the  Madonna,  the  Magdalen,  and 
St.  John,  and  the  angel  catching  the  sacred  blood,  will  by 
this  time  be  fa^niliar.    In  the  second,  12,  (a  Crucifix)  note 


W"i>iiiiillHiiliiiiliiiii>'i»iiiniii""Miiiniiiiii  ill 


■MM 


136 


FLORENCE 


[VI. 


the  gradual  approximation  to  reality  in  the  altered  posi- 
tions of  Our  Lady  and  St.  John  as  contrasted  with  those  in 
earlier  Crucifixions. 

II  is  again  a  Florentine  Madonna,  with  the  two  local 
saints,  (John  Baptist,  Zanobi)  a  mandorla  of  cherubs,  and 
angels  holding  the  Florentine  lily.  Note  that  this  is  some- 
times represented  by  the  white  lily  and  sometimes  by  tb:. 
iris. 

14,  an  altar-piece  of  the  school  of  Orcagna.  Si.  John  the 
Evangelist,  enthroned,  with  his  eagle  by  his  side,  trampling 
on  the  vices,  in  a  fashion  which  is  characteristic  of  Domini- 
can painting.  They  bear  their  names  :  Pride,  Avarice, 
Vainglory.  Notice,  above,  the  characteristic  Christ,  holding 
the  Alpha  and  Omega.  You  will  do  well  to  spend  a  whole 
morning  (if  you  can  spare  the  time)  in  attentive  study  of 
these  first  fourteen  numbers.  They  cast  floods  of  light  on 
subsequent  painting. 

Beyond  the  door,  17,  Ascension  of  St.  John  the  Evangelist. 
An  altar-piece  closely  suggested  by  Giotto's  fresco  in  SanU 
Croce.    Compare  with  photographs; 

Above  it,  15,  Pietro  Lorenzetti,  a  characteristic  and  gentle 
Sienese  Madonna.  Compare  it  with  Guide's  No.  5.  Observe 
the  placid  Sienese  angels,  with  their  somewhat  ill-humoured 
mouths,  drawn  fretfully  downward,  a  survival  from  the 
morose  Byzantine  severity.  Very  early  art  is  never  joyous. 
The  inscription  is  curious,  because  in  it,  as  in  most  pictures 
of  the  school  of  Siena,  the  panel  itself  speaks  in  the  first 
person — So-and-so  painted  me. 

16,  the  story  of  the  Anchorites  in  the  Desert,  by  Pietro 
Lorenzetti,  is  partly  reminiscent  of  the  great  fresco  in  the 
Campo  Santo  at  Pisa.  Most  of  its  many  episodes  you  will 
find  explained  in  Mrs.  Jameson.     It  takes  much  studying. 

Above,  26,  good  altar-piece  by  Bernardo  Daddi :  St 
Matthew,  St.  Nicolas  of  Bari.  Nicolas  was  the  name  of 
the  donor. 

From  this  point  the  technical  excellence  of  the  pictures 
increases  rapidly.  20,  St.  Cecilia,  patroness  of  music,  once 
wrongly  attributed  to  Cimabue.    This  is  a  good  and  stately 


'.  the  altered  posi- 
asted  with  those  in 

(ith  the   two  local 

la  of  cherubs,  and 

that  this  is  some- 

sometimes  by  tb:. 

jna.  Si.  John  the 
his  side,  trampling 
:eristic  of  Domini- 

:  Pride,  Avarice, 
Stic  Christ,  holdinjf 
1  to  spend  a  whole 
attentive  study  of 

floods  of  light  on 

ohn  the  Evangelist, 
o's  fresco  in  Santa 

cteristic  and  gentle 
lo's  No.  5.  Observe 
ewhat  ill-humoured 
survival  from  the 
art  is  never  joyous, 
as  in  most  pictures 
speaks  in  the  first 

;  Desert,  by  Pietro 
great  fresco  in  the 
»y  episodes  you  will 
s  much  studying, 
nardo  Daddi :  St 
i  was  the  name  of 

nee  of  the  pictures 
tiess  of  music,  once 
>  a  good  and  stately 


VI.] 


THE  UFFIZI,   ETC 


137 


Giottesque  figure,  for  her  altar  in  her  old  church  at  Florence, 
now  destroyed.  Round  it  are  eight  (habitual)  stories  of  her 
life.  L  side,  (i)  her  wedding  feast  (note  the  music  :)  (a)  she 
reasons  with  her  husband.  Valerian,  in  favour  of  virginity  : 
(3)  an  angel  crowns  Cecilia  and  Valerian :  (4)  Cecilia  con- 
verts her  husband's  brother,  Tiburtius.  R  side,  (5)  the  bap- 
tism of  Tiburtius  ;  (6)  her  preaching  :  (7)  her  trial  before  a 
Roman  Court :  and  (8)  her  martyrdom  in  flames  in  her  bath. 
All  are  quaintly  and  interestingly  treated.    See  Mrs.  Jameson. 

The  allar-piece  above  has  its  names  inscribed  on  it.     Its 
types  are  worth  study. 

23.  *•  Simone  Martini  and  Lippo  Memmi,  the  Annunci- 
ation, one  of  the  loveliest  altar-pieces  of  the  early  school  of 
Siena.  The  exquisite  angel,  to  the  I^  bears  a  branch  of 
olive  (beautifully  treated)  instead  of  the  more  usual  lily, 
which,  however,  stands  in  a  vase  to  separate  him  from  the 
Madonna.  Note  the  words  of  the  Salutation  (raised  in 
gold)  issuing  from  his  mouth,  and  the  inscriptions  on  his 
charming  flowing  ribbons.  Do  not  omit  the  exquisite  work 
of  his  robe.  Our  Lady  herself,  seated  in  a  dainty  inlaid 
chair,  representative  of  the  finest  ecclesiastical  furniture  of 
this  period,  shrinks  away,  as  often.  The  book  and  curtain 
are  habitual.  The  Madonna's  almond-shaped  eyes  and 
somewhat  fretful  drawn-down  mouth  still  faintly  recall  By- 
zantine precedents.  But  the  mild  Sienese  spirit  and  fine 
painting  of  the  piece  are  admirable.  Do  not  overlook  the 
dove  escorted  in  the  centre  in  a  mandorla  of  cherubs,  and 
the  three  arches  isolating  the  personages.  Linger  long 
over  this  masterpiece.  R  and  L  are  two  patron  saints  of 
Siena,  Sant'  Ansano  and  Saint  Juliet,  with  their  palms  of 
martyrdom.  Here,  again,  in  the  inscription,  the  picture 
speaks.  Compare  this  exquisite  altar-piece  in  all  its  details 
with  previous  works  of  the  school  of  Siena.  It  is  one  of  the 
loveliest  things  in  this  gallery. 

In  22,  observe  the  Annunciation,  above,  in  two  compart- 
ments; the  coat  of  arms  ;  and  the  singular  inscription,  (Hear 
the  other  side)  probably  betokening  it  as  a  votive  offering 
from  a  party  to  a  quarrel,  in  opposition  to  some  other 


138 


FLORENCE 


[VI 


already  dedicated.    (The  official  catalogue  refers  it  to  some 
court  of  justice.) 

37,  attributed  to  (the  doubtful  painter)  GiotMno.  A  very 
fine  Deposition  from  the  Cross,  reminiscent  in  its  principiU 
figures  of  the  Giotto  at  Padua.  The  saints  to  the  R,  show- 
ing the  nails,  may  be  well  compared  as  to  attitude  with  the 
great  Fra  Angelico  at  the  Belle  Arti.  To  the  L  are  two 
donors,  with  their  patrons  placmg  their  hands  on  their 
heads.  The  one  in  white  is  St.  Benedict  :  the  other  I  take 
to  be  (not  San  Zanobi,  but)  St.  Remi,  (Remigio)  from  whose 
church  the  picture  comes. 

28.  Agnolo  Gaddi,  Annunciation,  where  the  loggia,  book,* 
dove,  vase  with  lilies,  and  other  particulars,  should  all  be 
noted.  This  is  an  unusually  good  specimen  of  its  artist. 
The  little  scenes  in  the  predella  will  by  this  time  explain 
themselves.  Note  that  an  interior  is  still  represented  by 
taking  out  one  side  of  the  building.  Compare  the  Adora- 
tion and  the  Presentation  with  others  seen  previously.  (A 
Presentation,  by  the  way,  can  always  be  distinguished  from 
a  Circumcision  by  the  presence  of  Simeon  and  Anna,  the 
former  of  whom  usually  holds  the  divine  infant.) 

29.  Niccol6  di  Piero  Gerini,  Coronation  of  the  Madonna, 
with  attendant  group  of  Florentine  patron  saints.  From 
the  Mint  of  Florence.  You  will  recognise  the  Baptist, 
Santa  Reparata  (with  her  red  cross  flag ;)  San  Zanobi ;  St. 
Anne,  holding  the  town  of  Florence ;  St.  Catherine  with 
her  spiked  wheel  ;  St.  Joseph  with  the  budded  staff;  St 
John  the  Evangelist  (r)  holding  his  Gospel ;  St.  Matthew 
(l)  holding  his,  with  the  first  word  inscribed,  etc 

30.  School  of  Agnolo  Gaddi,  the  Doubting  Thomas  :  a 
characteristic  treatment. 

31.  Another  Coronation  of  the  Virgin.  The  saints  are 
named.  Note  their  characteristics.  The  one  you  may  fail 
to  recognise  is  St.  Ivo,  who  is  in  Florence  the  patron  of 
orphans.  Observe  the  combination  of  Francis  and  Dominic. 
In  the  cuspidi.  Annunciation,  in  two  portions. 

36.  Another  Annunciation,  of  the  School  of  Orcagna. 
Here  the  division,  such  as  it  is,  is  made  by  means  of  the 


■I 


[VI. 

ue  refers  it  to  some 

r)  Giot'ino.  A  very 
:ent  in  its  principal 
lints  to  the  R,  show- 
to  attitude  with  the 
To  the  L  are  two 
eir  hands  on  their 
the  other  I  take 
emigio)  from  whose 

re  the  loggia,  book,* 
:ulars,  should  all  be 
icimen  of  its  artist. 
)y  this  time  explain 
still  represented  by 
Compare  the  Adora- 
>een  previously.  (A 
!  distinguished  from 
leon  and  Anna,  the 
infant.) 

on  of  the  Madonna, 
itron  saints.  From 
:ognise  the  Baptist, 
;)  San  Zanobi  ;  St. 
St.  Catherine  with 
le  budded  staff;  St 
Dspel ;  St.  Matthew 
ibed,  etc 
}ubting  Thomas  :  a 

in.     The  saints  are 

le  one  you  may  fail 

rence  the  patron  of 

rancis  and  Dominic. 

tions. 

ichool  of  Orcagna. 

le  by  means  of  the 


VI.] 


THE  UFFIZI,   ETC 


139 


arches.    Unless  I  mistake,  two  separate  panels  have  here 
been  united.     This  often  happens  in  Annunciations. 

32.  Giovanni  da  Milano,  altar-piece,  with  group  of  named 
saints.  Below,  choruses  of  Virgins,  Martyrs,  Patriarchs, 
etc  All  have  their  names.  Note  their  characteristics. 
The  picture  was  painted  for  the  chitch  of  Ognissanti  (All 
Saints),  whence  the  assemblage.  Catherine  and  Lucy  often 
go  together.  The  latter  has  two  symbols,  both  significant 
of  her  name  :  a  flame,  or  her  eyes  in  a  dish.  Originally 
only  emblems  to  suggest  the  name,  these  marks  have  later 
legends  attached  to  them.  The  two  holy  martyrs,  St. 
Stephen  and  St.  Lawrence,  buried  in  the  same  grave,  also 
go  together.  See  in  Mrs.  Jameson  the  qua'nt  story  of  how 
Laurence,  "the  courteous  Spaniard,"  turned  over  on  his 
side  to  give  the  best  place  to  the  earlier  martyr.  In  the 
last  of  the  group,  the  scallop- shell  of  St.  James  marks  him 
as  the  saint  to  whose  great  shrine  (Santiago  de  Compos- 
tella)  pilgrims  made  religious  journeys.  The  dove  at  St. 
Gregory's  ear  we  have  often  before  noted.  I  cannot  too 
strongly  recommend  study  of  such  named  saints  and 
choruses  for  identification  afterwards.  Notice  among  those 
below  :  Reparata,  with  her  flag  ;  Agnes  with  her  lamb  ;  and 
Margaret  with  her  dragon,  among  the  Virgins  ;  Noah  with 
his  ark,  among  the  Patriarchs,  and  so  forth.  The  Prophets 
hold  distinctive  verses  in  the  Vulgate  from  their  own 
writings.  Above,  in  small  circles,  the  Lord  creating  heaven 
and  earth. 

35.  St.  Martin  dividing  his  cloak  with  the  beggar :  a 
common  French  subject,  rarer  in  Italy. 

4a  PietJ^  by  Lorenzo  Monaco ;  with  symbolical  figures 
in  the  background  of  Pilate  washing  his  hands  ;  the  Sacred 
coat ;  Judas  receiving  the  money ;  the  knife  that  cut 
Malcbus's  ear ;  Peter  and  the  seivant ;  the  sun  and  moon 
darkened  ;  the  pelican  and  its  young ;  the  .crowing  cock  ; 
the  lance  of  St.  Longinus  ;  and  many  other  symbols,  the 
rest  of  which  I  leave  to  the  reader.     Puzzle  it  out  in  detail. 

Do  not  pass  by  37,  Spinello  Aretino,  and  others,  merely 
because  I  do  not  memion  them.    (In  this  picture  for  example. 


I 


m^^mmsafm 


l»''itaBliMM!l»JMIWI»Wfttirii^M*lfty"Wl.' 


140 


FLORENCE 


[tn. 


the  halo  round  the  head  of  St.  Longinus,  the  devil  carrying 
away  the  soul  of  the  impenitent  thief,  the  parting  of  the 
raiment,  etc.,  should  all  be  noticed.  The  las';  scene  usually 
occupies  the  R  hand  side  in  historical  as  opposed  to  de- 
votional pictures  of  the  Crucifixion.  Observe  in  future 
which  scene  is  intended.) 

39-  *  Don  Lorenzo  Monaco,  Adoration  of  the  Magi.  A 
fine  picture,  with  the  usual  long  and  sinuous  bodies  and 
drapery  of  that  j  sculiar  painter.  Observe,  to  the  R,  the  at- 
tendants seeing  the  star  and  struck  with  wonder.  Also,  the 
Moors  in  the  suite,  and  the  very  imaginative  camels.  I  have 
treated  of  this  picture  at  much  greater  length  in  an  article 
in  the  Pali-Mall  Magasine  on  Adorations  in  general.  The 
scenes  above  are  by  a  later  hand  :  observe  the  very  graceful 
Annunciation. 

41.  Don  Lorenzo  Monaco,  fine  Tabernacle,  in  its  original 
frame,  with  Madonna  and  Child,  named  saints,  and  An- 
nunciation. Observe,  in  almost  all  these  early  Madonnas, 
the  draped  infant,  and  note  the  point  where  the  nude  com- 
mences. 

4J.  Zanobi  Strozzi,  Giovanni  de'  Medici.  Interesting 
chiefly  as  an  early  portrait  of  the  shrewd  old  founder  of  that 
great  family. 

44.  The  same,  St.  Lawrence  Enthroned  on  his  Gridiron. 
Below,  episodes  of  his  legend.  To  the  R,  he  releases  souls 
from  Purgatory  — a  hint  to  pray  to  him  for  friends  in 
torment. 

45.  •Bicci  di  Lorenzo,  Cosmo  and  Damian,  the  two 
Medici  saints  with  their  medical  instruments  and  boxes  of 
drugs.  The  attitudes,  I  think,  are  partly  suggested  by  a 
Byzantine  original,  though  the  technique  and  treatment  are 
of  course  Florentine  of  the  period.  Below,  in  the  predella, 
two  quaint  little  stories— the  miracle  of  the  Moor's  leg,  and 
the  decapitation  of  the  holy  doctors. 

46.  Madonna  Enthroned,  with  St.  Philip  and  St.  John 
Baptist. 

48.  Madonna  and  Child,  with,  L,  St.  John  Baptist  of 
Florence    and  St.    Francis    with    the    Stigmata;    R,    the 


■^^^'^^^s^iasir' 


[VI. 

lus,  the  devil  carrying 
:f,  the  parting  of  the 
rhe  las',  scene  usually 
al  as  opposed  to  de- 
Observe  in  future 

ition  of  the  Magi.  A 
1  sinuous  bodies  and 
lerve,  to  the  R,  the  at- 
th  wonder.  Also,  the 
lative  camels.  I  have 
r  length  in  an  article 
ions  in  general.  The 
lerve  the  very  graceful 

ernacle,  in  its  original 
med  saints,  and  An- 
lese  early  Madonnas, 
where  the  nude  com- 

Medici.  Interesting 
vd  old  founder  of  that 

med  on  his  Gridiron. 

e  R,  he  releases  souls 

him  for  friends   in 

id  Damian,  the  two 
uments  and  boxes  of 
artly  suggested  by  a 
ue  and  treatment  are 
lelow,  in  the  predella, 
f  the  Moor's  leg,  and 

Philip  and  St.  John 

St.  John  Baptist  of 
I    Stigmata;    R,    the 


Vl.l 


THE   UFFIZI,    ETC 


MJ 


Magdalen  and  St.  John  the  Evangelist.    In  the  cuspidi,  St. 
Peter  and  St.  Paul. 

Close  by,  49  and  50  :  interesting  little  panels  of  St.  Cath- 
erine standing  on  her  wheel,  and  St.  Francis  on  a  symbolical 
desert. 

51.  Florentine  Madonna,  with  St.  John  Baptist,  Antony 
Abbot,  Peter,  Lawrence.  Note,  on  the  frame,  the  usual 
symbols  of  the  Magdalen  and  St.  Catherine. 

Here  is  the  door  to  the  First  Tuscan  Room,  which  past 
for  the  present,  and  continue  on  along  the  Long  Corridor. 

52.  Paolo  Uccello,  Cavalry  battle.  Interesting  as  showmg 
his  early  attempts  at  movement  of  horses,  foreshortening, 
etc.  This  is  very  bad.  His  picture  in  the  National  Gallery 
shows  an  immense  advance  on  this  early  effort.  Observe 
particularly  the  hard  task  he  has  had  in  trying  to  foreshorten 
the  dead  horses  in  the  foreground. 

53.  Neri  di  Bicci,  characteristic  Annunciation,  on  the 
samp  model  as  those  in  the  Belle  Arti.  Garden,  bed- 
chamber, and  all  details,  are  conventional.  This  is  better 
painted,  however,  than  is  usual  with  Neri. 

School  of  Verrocchio,  Madonna,  with  characteristic  Flor- 
entine type  of  the  period. 

56.  Pesellino,  (more  probably  Baldovinetti)  Annunciation, 
with  the  angel  just  entering.  This  somewhat  unusual  point 
should  be  noted.  Also,  the  attitude  of  the  Madonna, 
reminiscent  of  Donatello's  treatment.  The  porphyry  arcade 
is  also  interesting.  The  cypresses  recur.  Never  pass  by  an 
Annunciation  unnoticed. 

54.  Neri  di  Bicci,  wooden  Madonna,  with  angels  of  the 
same  material,  drawing  the  curtain,  and  Child  opening  a 
pomegranate. 

60.  Baldovinetti,  interesting  as  a  specimen  ot  its  rare 
painter,  who  aimed  at  certain  effects  unusual  in  his  period. 
Madonna  and  Child,  with  Florentine  and  Medici  saints. 
Cosmo  and  Damian  may  be  compared  with  the  previous 
picture  in  this  gallery  by  Bicci  di  Lorenio.  Then,  St.  John 
Baptist,  now  growing  youthful :  he  is  generally  young  for  the 
High  Renaissance.     Beyond,  St.  Lawrence,  with  his  grid- 


tm^^mm^Kmnmia^ 


uniiMMnMUMnMmiiHH 


I 


142 


FLORENCE 


[VI 


iron  embroidered  on  his  deacon's  robe  as  a  symbol :  he 
represents  Lorenzo  de'  Medici.  Behind  him,  Si.  Julian  for 
Giulinno  de'  Medici.  Next,  St.  Peter  Martyr  and  St.  Antony 
Abbot,  joint  patrons  of  Picro  de'  Medici.  To  balance  St. 
Peter  Martyr,  St.  Francis,  kneeling.  A  very  Jamily  picture, 
with  Franciscan  and  Dominican  suggestions.  The  cypresses 
in  the  blackground,  common  elements  in  such  scenes,  may 
be  compared  with  many  other  adjacent  pictures  of  the 
period  or  earlier.  This  was  once  a  good  hard  picture,  but 
it  has  been  badly  treated.  Compare  with  56  for  technical 
method. 

62,  I  note  mainly  as  being  a  rare  secular  picture  of  its 
period. 

63.  Cosimo  Rosselli's  Coronation  of  the  Virgin.  The 
utter  want  of  sacredness  in  its  angels'  faces  is  conspicuous. 
The  technique,  though  hard,  has  this  painter's  merits.  Note 
the  triple  crowns  on  the  two  chief  personages. 

65.  Same  painter,  Adoration  of  the  Magi,  where  the 
Florentine  portraits  to  the  L  are  noteworthy.  This  is,  in- 
deed, a  picture  painted  for  the  sake  of  its  portraiture.  The 
curious  character-study  in  the  St.  Joseph  is  worth  notice. 
Observe  the  tendency  towards  greater  truth  in  the  landscape 
background. 

79-  Perhaps  Botticelli.  Dainty  Tuscan  Madonna,  with 
typical  face,  in  clouds  with  angels. 

69.  70,  71.  72,  73-  Five  somewhat  insipid  figures  of  Virtues 
by  Pollaiolo,  much  injured.  The  Renaissance  frieze  and 
decorations  are  noteworthy. 

64  is  amply  described  on  its  frame.    A  good  hard  picture. 

84.  Piero  di  Cosimo.  One  of  that  painter's  favourite 
mythological  scenes,— the  Marriage  of  Perseus.  Observe 
the  compo.sition  and  treatment.  We  here  get  a  new  note 
struck  by  the  Renaissance,  both  in  painting  and  architec- 
ture. 

Above  it,  75,  Charming  unknown  Tuscan  Madonna. 
Observe  in  the  Madonnas,  etc.,  of  this  group  the  increasing 
nudity  of  the  infant. 

80.  School  of   Ghirlandajo.    Good  hard  Madonna  and 


«  as  a  symbol :  he 
\d  him,  Si.  Julian  for 
artyr  and  St.  Antony 
iici.     To  balance  St. 

very  tmiily  picture, 
ions.    The  cypresses 

in  such  scenes,  may 
:ent  pictures  of  the 
od  hard  picture,  but 
vah  56  for  technical 

ecular  picture  of  its 

f  the  Virgin.  The 
faces  is  conspicuous, 
nter's  merits.  Note 
nages. 

e  Magi,  where  the 
worthy.  This  is,  in- 
;s  portraiture.  The 
ph  is  worth  notice, 
uth  in  the  landscape 

can  Madonna,  with 

id  figures  of  Virtues 
lissance  frieze  and 

.  good  hard  picture. 

painter's  favourite 

Perseus.     Observe 

sre  get  a  new  note 

nting  and  architec- 

Tuscan  Madonna, 
roup  the  increasing 

ard  Madonna  and 


XMk 


VI] 


THE    UFFIZI,    ETC 


143 


saints.  You  will  recognise  St.  Blaise  with  his  wool-carder, 
St.  Antony  of  Padua,  St.  Benedict,  and  St.  Antony  Abbot. 
Bishop  Blaise  is  the  patron  of  the  wool-trade,  one  of  the 
staple  businesses  of  mediaeval  Florence. 

Beyond  this,  unnumbered,  Luca  Signorelli,  two  fine  pic- 
tures, noticeable  for  their  study  of  the  nude  and  their 
anatomical  knowledge.  Luca  is  in  this  respect,  as  in  many 
others,  the  precursor  of  Michael  Angelo.  Art  for  art's  sake 
is  his  theory.  The  shepherds  in  the  background  are  there 
only  because  Luca  likes  to  paint  them. 

81  and  83.  Piero  di  Cosimo,  in  two  very  different  moods. 
The  Andromeda  is  most  characteristic.  Piero  delighted  in 
these  grotesque  and  incongruous  monsters.  In  the  Madonna 
picture,  the  eagle  marks  St.  John  the  Evangelist ;  the  lily, 
St.  Antony  of  Padua ;  the  keys,  St.  Peter ;  the  cross,  San 
Filippo  Renizzi  (?) ;  then  St  Catherine  and  St.  Margaret, 
kneeling  in  the  foreground. 

90.  The  beginning  of  the  Decadence.  Peruginesque 
Madonna,  in  a  mandorla,  adored  by  saints  who  foreshadow 
the  17th  cent.  The  St.  Francis  in  front  leads  on  to  the  in- 
sipid church  pictures  of  the  Baroque  period.  The  others 
are  the  Baptist,  Jerome,  and  Antony  Abbot.     . 

91.  Gerino  da  Pistoia,  Madonna  and  Saints.  I  call  atten- 
tion to  this  picture  mainly  in  order  that  you  may  judge  for 
yourself  whether  the  exquisite  Cenacolo  di  Fuligno  in  the 
Via  Faenza  (to  be  visited  later)  can  really  be  attributed  to 
this  insipid  and  jejune  trtist.  The  San  Rocco  to  the  K 
showing  the  wound  in  hiS  leg  is  a  characteristic  figure  of  the 
painter.    The  other  saints  are  easily  recognised. 

In  this  Long  Corridor  you  have  just  been  able  to  trace  the 
gradual  development  of  Tuscan  art  (for  the  most  part  as 
seen  in  its  second  or  third  rate  representatives)  from  the 
earliest  date  down  to  the  High  Renaissance.  We  will  now 
proceed  into  the  rooms  which  contain  the  worthier  repre- 
sentatives of  the  great  age  of  the  early  Renaissance.  Do 
not  however,  neglect  the  early  works  ;  without  them,  you 
can  never  intelligently  understand  the  later  ones. 


:i 


iitfifa  liwBijtMiaatmaQBfeKaw'  mi>  gjwium  -mwiM 


ft^s^mtttt*  M^WM^- 


#1 


144 


FLORENCE 


[VL 


.  Retur .  4lor.K  the  Corridor  to  the  flrit  open  door  marked 
Scuola  To*cana.  Pass  through  the  fu»t  room,  and  enter 
the  second,  opposite,  tho 

SAl^  TKRZA, 
which  contains  the  pictures  that  come  first  in  chronological 
order  among  the  later  painters.     This  room  you  cannot 
study  too  long.     It  embraces  the  finest  work  of  the  best 
perio'l. 

Wall  to  the  L,  as  you  enter.  Jacopo  (Landmi)  di  Cascn- 
tino.  bnllKintiy  colored  Glory  of  St.  Peter,  seen  enthroned 
as  Pope,  with  stories  from  his  life  on  either  side.  The  at- 
tendant saints  and  church  dignitaries  to  whom  he  distributes 
honours  are  symbolical  :  examine  them.  Note  St.  Cosmo. 
The  Kroup  of  Peter  in  prison,  visited  by  the  angel,  to  the  L, 
it  interesting  both  in  itself  and  for  comparison  with  the 
noble  Renaissance  work  in  the  Drancacc.  chapel  at  the 
Carmine.  (Go  from  one  to  .he  other.)  To  the  R,  the  Cruci- 
fixion of  Peter.  At  the  ends,  8  Apostles  or  evangelists, 
Andrew,   John,   Philip,    Matthew,    Thomas,  the    Jameses, 

Luke. 

Above  it,  1 31 5,  Mainardi  :  Beautiful  figures  of  three  saints, 
of  whom  the  chief,  St.  Stephen,  enthroned,  is  an  exquisite 
modification  of  the  traditional  type.    Beside  him,  James  and 

Peter.  ,  .        •» 

**  128$,  Recently  attributed  to  Leonardo:  it  so,  an 
early  work.  Beautiful  Annunciation.  Note  here  again  how 
the  traditional  features  are  all  retained,  including  even  the 
garden  and  t.ie  cypresses  in  the  background,  (so  frequent  in 
early  works,)  while  the  whole  spirit  of  the  scene  is  trans- 
formed  and  transfused  with  tht  developed  artistic  ideas  of 
the  Renaissance.  Observe  the  exquisite  sculpture  of  the 
nrie-dieu  Our  Lady's  hands  are  not  Leonardesque.  Tney 
recall  rather  the  school  of  Botticelli.  This  debateable  picture 
may  be  by  Ridolfo  Ghirlandajo  :  but,  whoever  painted  it,  it 

is  very  beautiful.  ,,,,,•       .  „f 

1295   *Ghirlandajo's  round  Adoration  of  the  Magi,  one  of 

this  great  painter's  masterpieces  :  admirably  balanced  and 

richly  coloured.    The  Madonna  and  Child,  the  Three  Kings 


[v.. 

t  open  door  marked 
irst  room,  and  enter 


first  in  chronological 
is  room  you  cannot 
ist  work  of  the  best 

0  (Landini)  di  Casen- 
I'eter,  seen  enthroned 
either  side.  The  at- 
o  whom  he  distributes 
m.  Note  St.  Cosmo, 
ay  the  angel,  to  the  l., 
comparison  with  the 
tncacci  chapel  at  the 
To  the  R,  the  Cruci- 
lostles  or  evangelists, 
homas,  the    Jameses, 

figures  of  three  saints, 
roned,  is  an  exquisite 
3eside  him,  James  and 

Leonardo  :    it  so,    an 

Note  here  again  how 

ed,  including  even  the 

ground,  (so  frequent  in 

of  the  scene  is  trans- 
eloped  artistic  ideas  of 
uisite  sculpture  of  the 
;  Leonardesque.  They 
This  debateable  picture 
t,  whoever  painted  it,  it 

ion  of  the  Magi,  one  of 
dmirably  balanced  and 
Child,  the  Three  Kings 


V..J 


THE   VFFIZt,   ETC 


145 


in  the  foregrounJ,  nnd  the  Joseph  should  a!l  be  closely 
noted.  Observe  the  attauilw.  ir.d  5Cti"r:  cf  iLv  i\\\g%. 
Their  faces  are  ciearly  portraits.  So  are  the  shepherds,  with 
clear-cut  features,  (as  of  !•  lorentine  scholars  and  humanists) 
in  the  group  to  the  R,  and  the  delicate  lads  with  Medici 
faces,  near  the  sheep  and  horses  in  the  background.  Notice 
the  beautilul  ruined  temple,  with  its  conventional  shed  or 
stable,  and  the  ox  and  ass  closfl  by,  as  well  as  the  admirable 
painting  and  foreshortening  of  the  horses.  The  composition 
though  full,  is  admirable  :  the  colour  most  harmonious. 
Every  detail  of  this  picture,  one  of  the  finest  specimens  of 
Renaissance  art,  should  be  carefully  studied,  both  for  com- 
parison with  others,  and  as  a  specimen  of  its  artist's  consum- 
mate skill. 

I  have  dealt  with  this  also  at  greater  length  in  the  Pall- 
Mall  Magazine,  on  the  subject  of  Adorations. 

1301.  Antonio  Pollaiolo :  St.  James,  with  his  pilgrims  hat 
and  staff,  flanked  by  St.  Vincent  and  St.  Eusta>  The 
central  saint  in  such  groups  is  of  course  the  impor  iit  one. 
Fine  char-\cteristic  figures  by  this  good  but  not  very  sympa- 
thetic painter.  He  thinks  more  of  anatomy  and  portraiture 
than  of  soul  or  sacredness.  The  colour  is  splendid.  The 
St.  Vincent  here  may  well  be  compared  with  his  brother 
deacon  St.  Stephen,  in  the  Mainardi  opposite.  Painted  for 
the  Chapel  of  St.  James  (of  the  Cardinal  of  Portugal)  at  San 
Miniato. 

1311.  *Lorenzo  di  Credi,  "Touch  me  Not"  :  Christ  and 
the  Magdalen  in  the  Garden.  A  beautiful  specimen  of  the 
tender  and  finished  painting  of  this  exquisite  artist,  who 
always  succeeds  best  in  small  subjects.  Observe  the  deli- 
cate and  clear-cut  landscape  in  the  background,  which 
should  be  compared  with  the  mistier  and  more  poetical 
effect  of  the  mountains  in  Leonardo's  Annunciation  beside 
it.  Contrast  also  the  painting  of  the  robe  of  Christ  with  the 
Madonna's  bosom  and  the  angel's  sleeve  in  the  (doubtful) 
Leon,  rdo,  which  last  are  as  well  done  as  it  is  possible  to  do 
them.  Lorenzo's  painting  has  always  the  distinctness  of  a 
bas-relief. 


146 


FLORENCE 


[VI. 


1300.  Piero  della  Francesca,  good  hard  portraits  (named) 
in  the  dry  and  formal  profile  manner  of  this  exreller.t  U»n- 
brian  painter.  At  the  back,  (swung  by  a  h'niie)  an  allegori- 
cal triumph  of  the  same  personages  :  the  di'chcsa  drawn  by 
unicorns,  the  symbol  of  chastity.  Where  sufficient  informa- 
tion is  given  on  the  frames  I  do  not  repeat  it. 

1313.  Lorenzo  di  Credi,  Christ  and  the  ^Voman  oi  Samaria, 
good,  but  not  quite  so  satisfactory  as  its  companion  picture. 
Beneath  this,  a  fine  predella  by  Luca  Signorelli,  admirable 
as  indicating  the  aims  of  the  artist. 

Entrance  wall,  beside  the  door.  ^^1160,  Lorenzo  di 
Credi,  Annunciation.  A  nost  beautiful  Renaissance  revivifi- 
cation of  somewhat  the  same  early  type  as  that  often  repro- 
duced by  Neri  di  Bicci  (see  the  Long  Gallery).  Observe 
the  admirable  way  in  which  the  traditional  motives  are  here 
retained  and  beautified  There  is  nothing  new,  but  every- 
thing is  altered  with  subtle  charm.  The  attitude  and  ex- 
pression of  the  angel,  and  the  little  start  of  the  Madonna, 
all  copied  from  the  Giottesque,  are  most  admirable  in  their 
wholly  different  treatment.  Note  at  the  same  time  how 
much  more  closely  Lorenzo  has  followed  the  traditional 
ideas  than  Leonardo  (if  it  be  Leonardo)  has  done.  Even 
the  little  round  windows  you  will  frequently  find  in  earlier 
treatments  ;  but  the  clear  drawing,  the  dainty  colour,  the 
fairy-like  scene,  the  exquisite  delicacy  of  the  technique,  are 
all  Lorenzo's  own.  So  is  the  beautiful  landscape  seen 
through  the  windows.  There  are  four  Annunciations  in 
this  room,  two  of  them  by  Lorenzo.  Compare  them  care- 
fully, in  order  to  mark  coincidences  and  differences.  Also, 
compare  the  other  Lorenzos  here.  Nowhere  else  in  the 
world  will  you  see  him  all  at  once  to  equal  advantage.  You 
cannot  linger  too  long  over  this  delicious  picture. 

1307.  **Filippo  Lippi,  Madonna  and  Child,  the  infant 
supported  by  two  merry  boy-angels.  Note  the  folds  of  the 
transparent  stuff  in  Our  Lady's  head-dress.  This  is  an 
exquisite  picture,  presenting  the  same  general  types  as  the 
Coronation  of  the  Virgin  in  the  Belle  Arti.  It  is  perhaps 
Filippo's  most  charming  panel  work.    There  is  little  to 


VI.] 


THE   UFFIZI,   ETC 


W 


hard  portraits  (named) 
of  this  exreller.t  Utr.- 
jy  a  Irnjie)  an  allegori- 
the  di'chcbb  drawn  by 
here  sufficient  informa- 
epeat  it. 

the  ^Voman  oi  Samaria, 

its  companion  picture. 

a  Signorelli,  admirable 

•.    **ii6o,   Lorenzo  di 
ful  Renaissance  revivifi- 
ype  as  that  often  repro- 
)ng  Gallery).    Observe 
tional  motives  are  here 
.othing  new,  but  every- 
The  attitude  and  ex- 
start  of  the  Madonna, 
most  admirable  in  their 
It  the  same  time  how 
bllowed  the  traditional 
lardo)  has  done.    Even 
equently  find  in  earlier 
the  dainty  colour,  the 
.cy  of  the  technique,  are 
autiful    landscape  seen 
four  Annunciations  in 
>.    Compare  them  care- 
and  differences.    Also, 
.     Nowhere  else  in  the 
I  equal  advantage.    You 
cious  picture, 
a  and  Child,  the  infant 
5.     Note  the  folds  of  the 
dead-dress.    This  is  an 
me  general  types  as  the 
elle  Arti.     It  is  perhaps 
■ork.    There  is  little  to 


understand  in  it,  but  worlds  to  look  at.  Return  to  it  again 
and  again  till  it  has  burnt  itself  into  your  memory.  It  was 
painted  for  Cosimo  Pater  Patripe,  a>  1  stood  originally  as 
an  altar-piece  in  a  room  in  the  Medici  (Riccardi)  Palace. 
The  Madonna  is  the  most  perfect  embodiment  of  Lippi's 
ideal.  The  angels  are  delicious.  Even  the  chair-arm  is  a 
poem.    As  for  the  colour,  it  is  exquisite. 

Above  it,  1287,  round  Madonna  and  Child,  by  Lorenz('  di 
Credi.  This  is  a  type  of  subject  commonly  known  as  ;he 
Madonna  adoring  the  Child :  you  will  meet  it  often.  Ob- 
serve the  infant  St.  John  of  Florence,  sustained  by  an  angel. 
(See  how  the  Renaissance  alters  St.  John.)  The  ruined 
temple  and  Joseph  sleeping  in  the  background  (to  suggest 
night)  are  all  conventional.  As  usual,  Lorenzo  is  less  suc- 
cessful on  this  larger  scale  than  in  his  smaller  pictures  :  he 
loses  by  expansion.  Only  the  Child  here  is  quite  worthy 
of  his  genius.  Compare  carefully  with  the  infinitely  more 
beautiful  Annunciation  beneath  it.  Yet,  if  any  one  else  had 
painted  it,  it  would  have  been  a  masterpiece.  We  judge 
Lorenzo  by  Lorenzo's  standard. 

1223.  Franciabigio :  Temple  of  Hercules.  Interesting 
chiefly  as  a  specimen  of  these  curious  Renaissance  resusci- 
tations of  classical  subjects.  It  was  the  front  of  a  chest,  to 
contain  a  bride's  trousseau. 

Above  it,  1303,  **Botticelli,  exquisitely  beautiful  Madonna 
and  Child,  enthroned,  in  a  niche.  In  this  picture  again 
there  is  nothing  to  explain,  but  much  to  admire  and  wonder 
at.  The  type  of  Our  Lady  is  one  of  Botticelli's  most 
spiritual  conceptions. 

1314.  **Lorenzo  di  Credi,  another  beautiful  little  An- 
nunciation, with  the  motives  considerably  varied  on  the 
preceding  one,  but  scarcely  less  beautiful.  You  will  observe 
by  this  time  that  Annunciations  fall  into  different  types,  and 
that  works  in  each  type  are  suggested  by  predecessors.  In 
this  delicious  and  clear  little  picture,  observe  the  attitude 
and  hand  of  the  kneeling  angel ;  the  adoring  wonder  and 
joy  of  the  Madonna ;  and  the  beautiful  landscape  in  the 
background,  dainty  and  pure  as  always  with  Lorenzo.    But 


148 


FLORENCE 


tVL 


observe,  also,  the  c^.iotant  survival  of  the  loggia,  the  divid- 
ing pillar,  and  the  bed  in  the  background.  This  is  a  simple 
treatment,  but  exquisitely  effective. 

1 168.  Lorenzo  di  Credi,  Madonna  and  St.  John,  with 
charming  landscape  background  ;  a  beautiful  work,  not 
quite,  however,  attaining  the  level  of  the  two  Annunciations. 
This  Mater  Dolorosa  is  of  course  represented  after  the 
Jrucifixion.  Lorenzo  succeeds  best  with  isolated  figures,  as 
in  this  room,  and  the  Louvre  altar-piece  :  where  he  attempts 
composition,  he  loses  in  beauty. 

Above  these,  1291 :  *Luca  Sipnorelli,  Holy  Family,  in 
which  th<j  springs  of  Michael  Angelo's  art  can  be  distinctly 
seen.  As  technique,  this  picture  is  of  great  interest.  Ob- 
serve Ih;  irastcrly  Ucauncnt  of  the  drapery.  It  is  intere:l~ 
ing  to  contrast  the  type  of  colouring  in  this  work,  in  the 
Lorenzo,  and  in  the  supposed  Leonardo, — which  last,  who- 
ever painted  it,  is  a  glorious  piece  of  colouring. 

Below,  m  a  predella,  notice  the  quaint  little  Sienese  stories 
from  the  Life  ^f  Benedict,  redolent  of  the  naivete  of  place 
and  period.  Centre,  as  a  child,  he  mends  his  nurse's  broken 
platter  :  L,  in  penitence  at  the  grotto  of  Subiaco  :  R,  he  is 
visiied  at  Monte-Cassino  by  King  Totila. 

The  P.  wall  is  devoted  to  four  exquisite  pictures  by 
Botticelli.  In  the  centre,  an  *Annunciation,  in  some  ways 
resembling  in  motive  two  others  in  the  room,  the  kneeling 
Gabriel  recalling  tk^e  second  Lorenzo  di  Credi,  while  the 
attitude  of  the  Madonna  highly  resembles  the  first.  But  the 
difference  in  technique  and  conception  is  immeasurable. 
There  is  not  a  detail  in  this  liquid-flowing  drapery  that  is 
not  instinct  with  Botticellian  feeling.  The  attitudes  of  the 
hands  should  be  compared  with  the  Three  Graces  in  the 
Primavera.  The  landscape  background  may  be  contrasted 
with  Lorenzo.  The  coincidences  and  differences  in  these 
pictures  will  help  you  towards  a  conception  of  the  painter's 
manner.     Movement  is  the  key-note  of  Botticelli's  art. 

On  either  '<iae  of  it  are  two  round  pictures,  also  by 
Botticelli.  That  to  the  L,  **\^t^  bis,  is  an  inexpressibly 
lovely  Coronation  of  the  Virgin,  where  tne  attendant  angels 


?!*■ 


[VI. 

le  lof[gia,  the  divid- 
L    This  is  a  simple 

md  St.  John,  with 
jeautiful  work,  not 
two  Annunciations. 
)resented  after  the 
I  isolated  figures,  as 
:  where  he  attempts 

i.  Holy  Family,  in 
art  can  be  distinctly 
great  interest.  Ob- 
jery.  It  is  intereci- 
in  this  work,  in  the 
o,— which  last,  who- 
ouring. 

little  Sienese  stories 

the  naivete  of  place 
is  his  nurse's  broken 
of  Subiaco  :  R,  he  is 
a. 

xquisite  pictures  by 
iation,  in  some  ways 
le  room,  the  kneeling 

di  Credi,  while  the 
les  the  first.  But  the 
ion  is  immeasurable, 
wing  drapery  that  is 

The  attitudes  of  the 
Three  Graces  in  the 
tid  may  be  contrasted 
1  differences  in  these 
;ption  of  the  painter's 
f  Botticelli's  art. 
nd  pictures,  also  by 
s,  is  an  inexpressibly 
;  tne  attendant  angels 


VI.] 


THE   UFFIZI,   ETC 


149 


represent  Medici  children.  About  this  picture  I  have 
nothing  to  say.  It  can  only  be  left  to  the  silent  admiration 
and  gratitude  of  the  spectator. 

To  the  R,  1289,  is  *a  Madonna  enthroned,  with  the  Child 
(lumpy)  bearing  a  pomegranate.  The  adoring  angels  also 
suggest  Medici  portraits.  The  atmosphere  and  feeling  of 
the  whole  picture  are  exquisite. 

To  the  extreme  R  and  L  on  the  wall  are  two  companion 
allegorical  figures,  *Strength  by  Botticelli,  and  Prudence 
by  Pollaiolo.  These  pictures,  being  painted  as  companion 
pieces,  afford  an  excellent  opportunity  for  contrasting  the 
spirit  of  the  two  painters.  They  beiong  to  the  same  series 
as  those  in  the  Long  Corridor. 

On  an  easel  in  this  room  is  **Fra  Angelico's  Coronation 
of  the  Virgin,  an  often  copied  picture,  with  exquisite  groups 
of  adoring  saints.  After  our  study  of  this  painter  at  the 
Belle  Arti,  however,  its  characteristics  will  sufficiently  reveal 
themselves  by  inspection.  It  deserves  long  notice  as  one 
of  the  most  beautiful  of  the  master's  easel  pictures.  It 
comes  from  the  Church  of  Santa  Maria  Nuova.  A  couple 
of  dozen  saints  may  be  recognised. 

Now,  enter  the  room  through  which  you  have  already 
passed, 

Scuola  Toscana,  Seconda  Sala. 

This  room  contains  for  the  most  part  works  of  the  High 
Renaissance,  tending  towards  the  decadence.  Some  are 
of  the  first  order  of  merit,  but  many  are  quite  inferior  in 
interest  to  those  in  the  hall  we  have  just  quitted. 

Beginning  at  the  L  as  you  enter,  1271,  Bronzino,  Christ 
Releasing  the  Souls  from  Hades.  In  this  tasteless  and 
empty  work,  only  the  formal  elements  belong  to  the  early 
conception :  the  whole  spirit  and  sacredness  of  the  scene 
has  disappeared ;  the  composition  is  vapid.  The  Christ, 
still  bearing  his  traditional  white  flag  with  the  red  cross,  is 
treated  merely  as  an  excuse  for  painting  the  nude,  as  are 
most  of  the  other  figures  round  him  :  and  very  ugly  nude 
Bronzino  makes  of  them.  The  Saviour  seizes  by  the  hand 
a  hrown  bald-headed  Adam,  whom  one  recognises  only  by 


"•^T-BiT^UiKaKi^-  ■.= 


150 


FLORENCE 


[VI. 


the  aid  of  earlier  pictures.  The  semi-nude  women  and  boys 
of  the  foreground  are  painted  entirely  for  their  naked  limbs, 
with  the  empty  art  of  Bronzino,  and  with  his  usual  pallid, 
unnatural  flesh-colours.  The  colouring  of  all  the  draperies 
is  also  as  bad  and  as  crude  as  it  can  be.  It  is  curious,  in 
this  typical  High  Renaissance  picture,  with  its  false  and 
affected  art,  to  catch  glimpses  here  and  there  of  the  e?rlier 
saints  and  patriarchs,  with  reminiscences  of  theu  .  ,n- 
ventional  symbols.  The  work  is  mainly  interesting  as  a 
study  in  the  springs  of  the  decadence.  Compare  it  with  the 
great  and  noble  Christ  in  Limbo  of  the  Spanish  Chapel. 

Next  to  it,  1269,  Vasari,  Portrait  of  Lorenzo  the  Mag- 
nificent, a  good  picture  of  its  sort,  but  chiefly  interesting  as 
a  portrait  illustrating  the  mean  and  petty  character  of  the 
man  it  represents. 

1270.  Pontormo,  Cosimo  \.  A  good  portrait,  m  the 
brilliant  reds  which  this  painter  loved,  and  which  doubtless 
here  represent  in  part  the  traditional  costume  of  St.  Cosmo, 
patron  saint  of  the  Grand  Duke  and  his  family.  Compare 
with  the  work  opposite,  1267,  also  by  Pontormo,  a  com- 
panion portrait  (not  contemporary)  of  Cosimo  Pater  PatriE, 
the  founder  of  the  family  greatness,  in  the  dress  which  you 
will  now  recognise  as  being  that  of  St.  Cosmo,  the  holy 
doctor,  as  seen  in  the  Bicci  di  Lorenzo  of  the  Long  Corridor. 
The  portrait  was,  of  course,  modernised  by  Pontormo  from 
earlier  contemporary  pictures. 

Between  these  two,  **Andrea  del  Sarto's  beautiful 
Madonna  and  Child,  raised  on  a  pedestal,  supported  by  two 
-harming  baby  angels,  and  flanked  on  either  side  by  St. 
Francis  and  St.  John  the  Evangelist.  They  are  almost 
devoid  of  symbols.  Compare  the  exquisitely  soft  and 
blended  colour  of  this  noble  and  touching  work  with  the 
crudity  and  vulgarity  of  the  contrasted  pigments  in  Bron- 
zino's  Hades.  These  saints  represent  perhaps  the  highest 
development  of  the  ancient  type  of  altar-piece  in  which 
Our  Lady  is  attended  by  two  saints,  one  on  either  hand,  m 
formal  attitudes.  The  evolution  of  the  composition  in  this 
set  of  subjects  is  a  most  interesting  study.    Our  Lady's  face. 


«.»5>Ml^, 


wmm 


[VI. 

dc  women  and  boys 
r  their  na'ted  limbs, 
ith  his  usual  pallid, 
of  all  the  draperies 
e.  It  is  curious,  in 
with  its  false  and 
there  of  the  pprlier 
ices  of  theu  :.  la- 
ily  interesting  as  a 
Compare  it  with  the 
Spanish  Chapel. 
■  Lorenzo  the  Mag- 
:hiefly  interesting  as 
:tty  character  of  the 

)od  portrait,  in  the 
and  which  doubtless 
stume  of  St.  Cosmo, 
is  family.  Compare 
f  Pontormo,  a  com- 
;osimo  Pater  Patriae, 
the  dress  which  you 
St.  Cosmo,  the  holy 
jf  the  Long  Corridor, 
id  by  Pontormo  from 

;1  Sarto's  beautiful 
;al,  supported  by  two 
jn  either  side  by  St. 
t.  They  are  almost 
ixquisitely  soft  and 
iching  work  with  the 
d  pigments  in  Bron- 
perhaps  the  highest 
altar-piece  in  which 
ne  on  either  hand,  in 
e  composition  in  this 
dy.    Our  Lady's  face, 


VI.] 


THE   UFFIZI,   ETC 


151 


the  Child,  the  draperies,  the  St.  John,  and  his  red  cloak, 
are  all  as  lovely  a?  art  can  make  them.  In  the  St.  Francis, 
just  p  note  obtrudes  itself  of  the  coming  degeneracy.  He 
is  a  faint  trifle  affected.     But,  oh,  what  colour  ! 

Beyond  it,  1266,  good  portrait  by  Bronzino,  showing  him 
in  one  of  his  happier  moments. 

1265.  Design  in  bistre  by  Fra  Bartolommeo  for  a  Ma- 
donna and  Child,  with  St.  Anne  behind.  The  position  of 
the  St.  Anne  is  conventional :  see  the  Leoisardo  in  the 
Louvre  )  in  other  pictures  in  Florence  the  Madonna  sits  on 
her  mother's  lap.  On  either  side  stand  the  patron  saints 
of  Florence,  conspicuous  among  whom  are  Santa  Reparata 
and  San  Zanobi.  This  work,  much  praised  by  the  critics 
for  its  skilful  composition,  seems  to  me  to  strike  the  first 
note  of  the  decadence.  The  adoring  face  of  St.  Anne,  how- 
ever, is  undeniably  beautiful.  Observe  the  survival  of  her 
traditional  head-dress.  The  saint  was  a  popular  favourite 
in  Florence,  as  Walter  de  Brienne  was  expelled  from  the 
city  on  St.  Anne's  Day,  which  was  ever  afterwards  kept  as 
a  public  holiday.  The  picture  was  commissioned  by  the 
town  of  Florence. 

Back  wall,  1261.  lacopo  da  Empoli,  St.  Ivo  as  pro- 
tector of  orphans.  A  good  late  picture,  painted  for  the 
magistracy  of  the  orphans,  of  which  the  saint  was  patron. 
You  will  find  a  rude  early  picture  of  the  same  subject  in 
the  Opera  del  Duomo,  interesting  for  comparison  :  St.  Ivo 
wears  a  similar  dress  in  both. 

Above  it,  one  of  Pontormo's  ugliest  nudes. 

1268.  **Filippino  Lippi,  an  exquisite  but  somewhat  sad- 
faced  Madonna,  crowned  by  angels.  The  clear  and  lumi- 
nous colour  strikes  the  eye  at  once.  In  the  foreground 
is  a  fine  ascetic  figure  of  St.  John  Baptist  of  Florence, 
balanced  by  San  Zanobi,  distinguishable  by  the  Florentine 
lily  on  his  morse.  In  the  background,  St.  Augustine  (the 
authorities  say,  St.  Victor)  and  St.  Bernard.  Observe  the 
beautiful  Renaissance  architecture  and  the  charming  faces 
of  the  angels.  The  flowers  also  are  lovely.  Above,  the 
arms  of  the  Florentine  people.  This  great  work  was  painted 


153 


FLORENCE 


Cvi. 


for  a  hall  in  the  Palace  of  the  Signoria  :  hence  the  group- 
ing, and  the  Florentine  arms  at  the  summit. 

1257.  ♦*Filippino  Lippi's  exquisite  Adoiation  of  the 
Magi,  a  work  instinct  with  Renaissance  feeling.  Th^  Old 
King  has  already  presented  his  gift,  which  is  held  by  an 
attendant  on  the  R.  The  Middle  aged  King,  close  shaven, 
kneels  behind  him.  The  Young  King,  as  often,  is  just  Uking 
his  gift  in  his  hand,  while  his  crown  is  being  removed  by  a 
servant,  as  in  earlier  pictures.  But  the  movement  and 
characterisation  of  the  scene  are  entirely  Filippino's.  All 
the  figures  are  portraits,  some  of  them  are  Medici.  The 
group  of  the  Madonna  and  Child,  with  the  yellow-robed 
St.  Joseph  bearing  his  staff,  has  been  entirely  transformed 
from  earlier  models  by  the  painter's  genius.  The  attendants 
to  the  R  are  particularly  noteworthy.  Even  the  conventional 
accessories  of  the  ruined  temple,  the  shed,  the  ox  and  ass, 
and  the  cavalcade  in  the  distance,  are  all  transfused  with 
Filippino's  own  sympathetic  temperament.  This  is  one  of 
the  culminating  pictures  of  the  best  age  of  the  Renaissance  : 
stand  long  before  it.  Observe  the  hands  and  feet,  and  the 
management  of  the  drapery. 

R  wall,  1283,  Entombment.  A  good  hard  work  by  the 
little-known  late  Renaissance  painter  Raffaello  di  Franco 
(Botticini),  conspicuous  for  its  extraordinary  want  of 
emotion.  The  figures  look  as  if  an  entombment  were  an 
every-day  occurrence  with  them.  The  Florentine  St.  John 
Baptist  marks  the  country  of  the  painter.  In  the  back- 
ground, the  Way  to  Calvary. 

1 28 1  bis,  Cosimo  Rosselli,  Madonna  and  Child  v/ith  the 
infant  St.  John.  Even  harder  and  drier  than  is  the  painter's 
wont.  To  the  R  and  L  of  her,  St.  James  as  pilgrim,  and  St. 
Peter  with  his  keys.  The  hands  and  feet  are  the  best  part 
of  the  picture.  Compare  the  solid  angels  holding  the 
crown  with  the  charmingly  living  and  flowing  figures  in  the 
Filippino  to  the  L  of  it.    Good  drapery. 

Over  the  door,  *Granacci,  the  Madonna  letting  fall  the 
Sacra  Cintola  to  St.  Thomas.  The  charmingly  youthful 
figure  of  the  saint  w^s  evidently  suggested  by  Nanni  di 


[VI. 

ia  :  hence  the  group- 
ntnit. 

Adoration  of  the 
:e  feeling.  Th^  Old 
which  is  held  by  an 
i  King,  close  shaven, 
IS  often,  is  just  taking 
i  being  removed  by  a 

the  movement  and 
rely  Filippino's.  All 
m  are  Medici.  The 
ith  the  yellow-robed 

entirely  transformed 
lius.  The  attendants 
^ven  the  conventional 
shed,  the  ox  and  ass, 
re  all  transfused  with 
nent.  This  is  one  of 
e  of  the  Renaissance  : 
nds  and  feet,  and  the 

od  hard  work  by  the 
RafTaello  di  Franco 
raordinary  want  of 
entombment  were  an 
e  Florentine  St.  John 
linter.     In  the  back- 

i  and  Child  v/ith  the 
;r  than  is  the  painter's 
63  as  pilgrim,  and  St. 
feet  are  the  best  part 
1  angels  holding  the 
flowing  figures  in  the 

y- 

lonna  letting  fall  the 

charmingly  youthful 

iggested  by  Nanni  di 


-rp" 


VI.] 


THE   UFFIZI,    ETC 


I&3 


Banco's  admirable  relief  on  the  N.  door  of  the  Cathedral, 
itself  suggested  by  the  Orcagna  at  Or  San  Michele.  To 
the  R,  St.  Michael  the  Archangel  kneels  to  balance  St. 
Thomas.  In  the  empty  sarcophagus,  flowers  as  usual— this 
time  roses,  not  lilies.  This  is  Granacci's  mastei piece,  and 
is  an  astonishingly  fine  example  for  suci;  a  painter. 

1252.  '^Leonardo's  unfinished  Adoration  of  the  Magi,  in 
bistre.  Compare  with  the  Filippino.  A  fine  work,  full  of 
Leonardesque  power,  but  without  sufficient  detail  to  render 
it  attractive  to  the  general  observer. 

1279.  *Sodoma's  celebrated  St.  Sebastian,  shot  with 
arrows.  This  is  one  of  the  most  beautiful  representations 
of  the  subject,  in  a  very  low  tone  of  colour,  and  is  perhaps 
Scdoma's  masterpiece.  The  angel  descending  in  a  glory 
behind  with  a  crown  of  martyrdom  is  peculiarly  full  of 
Scdoma's  spirit.  Fully  to  appreciate  it,  however,  you  must 
know  the  master's  other  works  at  Siena.  This  panel, 
painted  for  a  Sienese  Society,  was  carried  in  procession  as 
a  plague  picture  by  the  Confraternity  to  which  it  belonged. 
On  the  back  is  a  Holy  Family,  with  St.  Sigismund,  and  the 
other  great  plague  saint,  San  Rocco.  An  attendant  will 
unlock  it  for  you. 

1278  bis.  School  of  Verrocchio,  good  Madonna,  with 
St.  John  of  Florence,  San  Zanobi  holding  a  model  of  the 
town  and  cathedral,  St.  Francis  with  the  Stigmata,  and  St. 
Nicolas  of  Bar!  with  his  three  balls.  Thcf  architecture  and 
decoration  are  noteworthy.  Obsei-ve  also  the  palms  and 
cypresses  in  the  background,  which  often  appear  in  similar 
pictures. 

1277  and  1275.  Two  miracles  of  San  Zanobi,  by  Ridolfo 
Ghirlandajo,  son  of  Domenico  :  from  the  church  of  the 
Fraternity  of  San  Zanobi.  These  two  pictures,  like  Gran- 
acci's Sacra  Cintola,  indicate  the  extraordinary  way  in  which, 
during  the  great  age  of  Florentine  art,  even  secondary 
painters  often  produced  works  of  the  highest  merit.  Nothing 
can  be  better  in  its  way  than  their  drawing,  composition,  and 
colouring.  The  first  represents  the  miracle  of  the  tree  which 
burst  into  Iwf  when  the  body  of  San  Zanobi  was  being 


154 


FLORENCE 


[vi. 


carried  past  it :  (see  the  Cathedral.)  Observe  its  naked 
boughs,  and  the  leaves  just  draping  them.  Note  the 
Baptistery  on  the  VL  (without  the  later  s.ulpturc)  and  the 
tower  of  the  Palazzo  Vecchio  :  to  the  L,  the  Campanile  and 
part  of  the  o\Af/natie  of  the  Cathedral.  The  second  picture 
shows  the  miracle  of  the  restoration  of  the  French  (or  Gallic) 
lady's  son,  which  is  also  the  subject  of  Ghiberti's  relieC  on 
the  Area  oi  'jan  Zanobi  in  the  Cathedn.l.  Observe  the 
Florentine  lily  on  San  7ancbi's  morse.  Cood  portraits  of 
bystanders.  The  colour  here  is  beautiful ;  the  grouping 
fine';  and  the  air  of  returning  life  on  the  chilus  pallid  face 
very  well  rendered. 

1259.  *Mariotto  Albertinelli's  Visitation.  Another  splen- 
did example  ot  the  way  in  which  compaiatively  minor  artists 
produced  nolile  works,  in  the  full  flush  of  the  High  Renais- 
sance. In  'xi.ipos'tion  this  picture  resembles  somewhat  the 
Ghirlandajo  of  ihe  same  subject  in  the  Louvre,  and  far  more 
closely  the  central  part  of  the  Pacchiarotto  in  the  Belle  Arti. 
Compare  thee  two,  and  note  the  way  the  figures  are  sil- 
houetted against  the  sky  in  the  background.  The  design  is 
said  to  be  by  Fra  Bartolommeo.  I  have  traced  the  evolution 
of  the  arch  in  the  background  in  one  of  my  papers  in  the 
Pall-Mall  Alagasine.  Observe  the  survival  of  the  tradiiional 
hoods  in  both  St.  F-lizabeth  and  Our  Lady.  This  picture, 
however,  shows  the  way  in  which  the  beautiful  brocades 
and  other  carefully-wrought  stuffs  of  early  painting,  well 
discriminated  and  reproduced,  give  place  with  the  High 
Renaissance  to  what  is  known  in  the  abstract  as  "  drapery  " — 
mere  colour  and  folds,  without  distinctive  texture.  Observe 
this  trait  in  this  room,  progressively,  in  the  Filippiv.os,  the 
Andrea  del  Sartofi,  the  Albertinslli,  and  the  Pontormo. 

Next  the  door,  *I254,  Andrea  del  Sarto,  St.  James,  with 
his  pilgrim  s  staff,  as  protector  of  ch'"  Iren  ;  a  processional 
woik,  carried  as  a  banner  by  the  Confraternity  of  St.  Jamts, 
which  protecte  1  orphans,  and  thus  much  injured.  It  low 
displays  comparauvely  little  of  Andrea's  dellcat''  colour- 
ing. 

On  easels  in  the  centre,  two  .ecent  acquisitions.    *  3152, 


"7.K-  wn-tS*»?-T  "sr^  "Sf*'  ■ 


E  [n. 

A.)  Observe  its  naked 
ping  them.  Note  the 
later  s.ulpturc)  and  the 
;  L,  the  Campanile  and 
al.  The  second  picture 
of  the  French  (or  Gallic) 
of  Ghiberti's  relief  on 
athedr.-l.  O'oserve  the 
rse.  Cood  portraits  of 
jeautiful ;  the  grouping 
t\  the  chilu's  pallid  face 

tation.  Another  splen- 
npatatively  minor  artists 
ash  of  the  High  Renais- 
resembles  somewhat  the 
he  Louvre,  and  far  more 
iarotto  in  the  Belle  Arti. 
way  the  figures  are  sil- 
cground.  The  design  is 
have  traced  the  evolution 
le  of  my  papers  in  the 
survival  of  the  tradiiional 
ur  Lady.  This  picture, 
the  beautiful  brocades 
of  early  painting,  well 
'e  place  with  the  High 
abstract  as  "  drapery  " — 
nctive  texture.  Observe 
ly,  in  the  Filippiv.ob,  the 
and  the  Pontormo. 
;1  Sarto,  St.  James,  with 
:h'"  Iren  ;  a  processional 
)nfraterriity  of  St.  Jamts, 
>  much  injured.  It  low 
ndrea's  delicate   coljur- 

nt  acquisitions.    *  3453 


VI.] 


THE   VFFIZl,   ETC 


155 


Lorenzo  di  Credi's  Venus,  a  fine  treatment  of  the  nude,  not 
in  colour  quiic-  equal  to  this  artist's  general  level. 

3436.  An  Adoration  of  the  Magi,  drawn  by  Botticelli,  but 
coloured,  and  spoiled  in  the  colouring,  in  the  17th  cent. 
Little  of  the  master  remains,  except  the  sense  of  movement 
and  the  character  in  some  of  the  faces.  The  distinctive 
Botticellian  feeling  has  almost  gone  out  of  it. 

The  little  room  to  the  R, 

Scuola  To«cana,  Prima  Sala, 

contains  an  immense  number  of  small  works  of  various  ages, 
many  of  which  are  of  the  first  importance. 

Entrance  wall,  near  the  window,  1 163  and  34.  *  Two 
admirable  portraits  by  Lorenzo  di  Credi.  Notice  in  the  first 
the  hands  of  a  born  sculptor,  and  the  sense  of  form  about  the 
eyes  and  forehead.  The  second  is  that  of  a  high-born  and 
unscrupulous  Florentine  gentleman,  a  dangerous  rival  in  a 
love-affair. 

*n78.  Fra  Angelico's  Adoration  of  the  Virgin.  A  beauti- 
ful little  work,  highly  typical  in  its  arrangement  In  the 
background,  the  Temple  ;  in  front,  the  High  Priest,  clad  in 
his  robe  and  ephod.  To  the  K,  the  youthful  figure  of  Our 
Lady,  timid  and  girlish,  accompanied  by  St.  Anne  and  the 
Virgins  of  the  Lord,  with  the  usual  group  of  children  in  the 
distance.  To  the  L,  St.  Joseph  with  his  budded  staff,  on 
which  sits  the  dove  of  the  Holy  Spirit.  Behind  him,  as 
always,  the  angry  suitors,  striking,  a.nd  the  impatient  suitors 
breaking  their  staffs.  To  the  extreme  L,  the  golden  and 
silver  trumpets.  Even  the  garden  wall  at  the  back,  with  its 
palms  and  cypresses,  is  a  conventional  feature.  You  will 
find  it  in  several  earlier  pictures.  Compare  the  Taddeo 
Gaddi  in  Santa  Croce,  where  almost  every  figure  occurs  in 
the  self-same  ord?r.  I  have  treated  this  subject  at  length  in 
on-;  of  iny  articles  in  the  Pall-Mali  Magazine. 

1182.  *  Botticelli's  Calumny,  one  of  this  great  painter's 
finest  tho'-.gh  less  pleasing  works.  It  is  painted  after  the 
description  of  a  picture  by  Apelles.  The  fine  nude  figure  to 
the  L  recalls  the  Primavera.     So  does  the  beautiful  form 


106 


FLORE NCR 


[VI. 


scattering  rosesi  over  the  nude  man  in  the  centre.  The  ad- 
mirable Kenaiitsance  enrichment  of  the  arcnitecture,  and  the 
reliefs  of  the  tribune  must  not  be  overlooked.  This  is  a  work 
which  requires  long  study.  The  drapery  of  the  woman 
in  the  foreground,  to  the  extreme  R,  is  a  marvel  of  colour- 
ing. 

Above  it,  three  good  little  pictures,  the  finest  of  which, 
1 163,  by  Fra  Angelico,  is  one  of  a  series  of  the  Life  of  John 
the  Baptist,  and  represents  Zacharias  writing,  "  His  name 
is  John." 

1 1  $3.  Good  small  Fra  Bartolommeo. 

1184.  *Fra  Angelico,  Death  of  the  Madonna,  attended,  as 
usual,  by  the  apostles  and  angels,  with  Christ  in  a  mandorla 
receiving  her  glorified  spirit.  The  apostles  have  their  names 
inscribed  on  their  haloes.  Identify  them.  The  little  angels 
at  the  side  are  in  Fra  Angelico's  most  charming  manner. 

1345.  lacopo  da  Empoli.  Good  Sacrifice  of  Abraham. 
Somewhat  reminiscent  of  Sodoma.  Most  of  the  other 
pictures  on  this  wall  require  some  attention. 

1156,  **  Botticelli's  Judith,  with  the  head  of  Holophernes, 
a  marvellous  work,  deserving  long  study.  No  other  painter 
ever  put  so  much  life  and  motion  into  his  figures. 

Beyond  the  door,  some  of  Bronzino's  unpleasing  nudes. 

A  detestable  Cigoli  of  St.  Francis  receiving  the  Stigmata, 
and  other  unpleasing  works  of  the  same  period,  are  also 
here. 

End  wall,  an  interesting  Martyrdom  of  St.  Sebastian. 
The  type  is  the  same  as  that  of  the  PoUaioIo  in  the 
National  Gallery,  and  the  rude  old  work  in  the  Opera  del 
Duomo. 

Beneath  it,  1146,  attributed  to  Andrea  del  Sarto,  Ma- 
donna and  Child  with  the  infant  St.  John.  Not  a  pleasing 
specimen. 

1312.  Another  of  Fiero  di  Cosiino'';  fantastic  monsters. 

1150.  School  of  Pinturicchio.  Madonna,  with  St.  Joseph 
and  St.  Blaise  ;  the  latter  easily  lecognised  by  his  wool- 
carder. 

Return  along  the  H  wall.    More  nudes  by  Bronzino.    A 


CE 


[VI. 


1  in  ihe  centre.  The  ad- 
f  the  arcnitecture,  and  the 
verlooked.  This  is  a  work 
I  drapery  of  the  woman 
!  R,  is  a  marvel  of  colour- 

Lires,  the  finest  of  which, 
series  of  the  Life  of  John 
arias  writing,  "  His  name 

meo. 

iie  Madonna,  attended,  as 
with  Christ  in  a  mandorla 
apostles  have  their  names 
f  them.  The  little  angels 
tost  charming  manner. 
)d  Sacrifice  of  Abraham, 
na.  Most  of  the  other 
attention. 

the  head  of  Holophernes, 
study.     No  other  painter 
nto  his  figures, 
ino's  unpleasing  nudes, 
is  receiving  the  Stigmata, 
he  same  period,  are  also 

'tyrdom  of  St.  Sebastian, 
of  the  PoUaioIo  in  the 
\  work  in  the  Opera  del 

Andrea  del  Sarto,  Ma- 
it.  John.    Not  a  pleasing 

o's  fantastic  monsters, 
■ladonna,  with  St.  Joseph 
lecognised  by  his  wool- 

X  nudes  by  Bronzino.    A 


v.] 


THE   UFFIZI,   ETC 


157 


little  Visitation  of  the  17th  cent,  interesting  to  compare 
with  the  Albertinelli. 

Tolerable  nudes  by  Zuccheri. 

1309.  An  unspeakably  vulgarised  Dead  Christ  by  Bron- 
rino. 

Then,  a  Leda  with  the  Swan,  and  other  works,  the  best  of 
their  type,  but  singularly  unpleasing. 

Ueyond  the  door,  1179.  Pretty  little  St.  Sebastian  by 
llolticelli. 

n8o.  Small  copy  of  Allori's  fine  Judith  in  the  ''itli. 

1 1 59.  Hepd  of  Medusa,  unaccountably  attributed  to  Leo- 
nardo. 

1 161.  Exquisite  little  Circumcision  and  Nativity  by  Fra 
Hartolommeo.  On  the  hark  of  the  flaps,  Annunciation,  in 
two  separate  pieces. 

1 1 57.  *  A  fine  portrait,  attributed  to  Leonardo. 

1 1 58.  *  Botticelli.  Holofernes  discovered  headless  under 
his  tent. 

Above  these,  three  fine  portraits,  of  which  that  by 
♦Masaccio  is  very  remarkable.  The  medallist  (iiS4)» 
falsely  called  Pico  della  Mirandola,  is  probably  a  Botticelli. 
Higher  still,  good  later  portraits,  by  Andrea  del  Sarto,  etc. 

I  have  passed  lightly  over  the  small  works  in  this  room 

because  they  are  so  numerous  ;  but  many  of  them  deserve 

the  closest  attention.     Do  not  think  because  a  picture  is 

little  it  is  unimportant.    Some  of  the  loveliest  gems  of  the 

collection  are  in  this  small  apartment. 

The  next  room. 

The  Tribuna, 

contains  what  are  generally  considered  the  gems  of  the  col- 
lection, though  the  selection  by  the  authorities  is  in  accord- 
ance with  the  taste  of  the  beginning  of  this  century  rather 
than  with  that  of  the  present  generation.  Start  at  the  door, 
entering  from  the  main  corridor.  L  of  the  entrance  :  Holy 
Family  by  Alfani  ;  a  trivial  work,  chiefly  interesting  as 
showing  the  mixed  school  of  Perugino  and  Raphael. 

1 129.  **  Raphael's  Madonna  del  Cardellino,  one  of  *lc 
most  beautiful  pictures  of  his  Florentine  period  U507)-    It 


158 


FLORENCE 


[VI. 


Khnuld  be  compared  with  the  Helle  Jardiniere  in  the  Louvre. 
The  subject  is  one  oriKinally  peculiar  to  Florentine  painters, 
the  Madonna  and  Child  with  the  infant  St.  John  of  Florence, 
the  latter  here  hoIdinK  the  symbolical  goldfrnch.  Note  how 
the  earlier  abstractness  here  jjivcs  way  to  a  touch  of  naturai- 
lim.  The  exquisite  sweetness  and  Floientine  cast  of  the 
Madonna's  countenance,  and  the  i  harminjj  painting  of  the 
nude  boys  should  be  carefully  noted.  This,  however,  is  one 
of  those  pictures  which  must  be  mp.inly  left  to  the  percep- 
tive powero  of  the  reader.  Do  not  overlook  the  charming 
contrast  of  the  baby  foot  with  the  mother's  in  the  fore- 
ground. 

1 1 27.  Raphael,  or  more  probably  from  a  design  by  Ra- 
phael. The  Young  St.  John  in  the  Desert.  Here  the 
Renaissance  love  for  the  healthy  youthful  nude  male  form 
has  triumphed  over  the  asceticism  of  earlier  conceptions. 
This  is  just  a  beautiful  boy,  with  the  traditional  attributes 
of  the  penitent  in  the  desert.  The  Florentine  St.  John 
is  often  thus  used  as  a  mere  excuse  for  earthly  painting 
or  sculpture.  You  will  meet  him  a),'ain  in  many  shapes  at 
the  Hargello. 

Above  it,  11 30  and  1126.  Fra  Bartolommeo,  Job  and 
Isaiah.  Grand,  or  shall  I  say  rather  grandiose  figures 
which  reveal  the  spiritual  parentage  of  the  Raphael  car- 
toons J  these  are  typical  specimens  of  this  great  but  un- 
pleasing  Migh  Renaissance  painter.  Art,  not  spirit  :  and 
the  art  itself  chilly. 

1 125.  Franciabigio,  the  Madonna  of  the  well.  Subject 
the  same  as  the  Raphael  which  balances  it,  but  with  tlie 
later  Roman  treatment,  the  spirituality  all  going  out,  and 
mere  naturalistic  prettinesses  substituted  for  the  careful 
painting  and  more  spiritual  ideals  of  the  earlier  epoch.  A 
good  work  of  its  sort,  but  oh,  how  fallen  ! 

1 134.  *  Very  fine  portrait  by  Frar  ia. 

Beneath  it,  1 123.  Probably  Sebai  ano  del  Piombo.  The 
so-called  Fornarina,  attributed  to  Raphael.  By  whomever 
produced,  this  is  a  splendidly-drawn  and  well-painted  but 
ugly  and  vulgar  picture.     Compare  it  with 


B  [VI. 

ardiniire  in  the  Louvre, 
r  to  Florentine  painters, 
tnt  St.  John  of  Florence, 
il  goldfinch.  Note  how 
ay  to  a  touch  of  natural- 

Floientine  cast  of  the 

darniinK  painting  of  the 

This,  however,  is  one 

linly  left  to  the  percep- 

overlook  the  charming 
!  mother's   in   the  fore- 

from  a  design  by  Ra- 
the Desert.  Here  the 
3Utliful  nude  male  form 

of  earlier  conceptions, 
the  traditional  attributes 
le  Florentine  St.  John 
use  for  earthly  painting 
gain  in  many  shapes  at 

Bartolommeo,  Job  and 
ather  grandiose  figures 
je  of  the  Raphael  car- 
s  of  this  great  but  un- 
•.     Art,  not  spirit  :  and 

i  of  the  well.  Subject 
alances  it,  but  with  the 
ality  all  going  out,  and 
stituted  for  the  careful 
)f  the  earlier  epoch.  A 
xllcn  1 
'  ia. 

ino  del  Piombo.  The 
Raphael.  By  whomever 
vn  and  well-painted  but 
it  with 


VI.] 


THE   VFFJZl,   ETC 


159 


1 1 30,  *Raphael,  A  beautiful  portrait  of  an  unknown  lady, 
in  his  earlier  and  better  manner.  The  attribution  is  doubt- 
ful :  it  has  been  ascribed  to  Leonardo. 

iiJi.  •Mantcgna,  fine  portrait  of  the  Duchess  of  Urbino. 

Above  the  door,  a  good  Rubens. 

1115.  *Fine  Vandyck. 

I II 7.  ♦Titian's  Venus.  A  beautiful  voluptuous  nude,  of  a 
type  suggested  by  the  Giorgione  now  at  Dresden.  Com- 
pare with  photographs. 

1 136.  Veronese.  Very  Venetian  Holy  Family,  with  volup- 
tuous fair-haired  Venetian  lady  as  St.  Catherine.  You  can 
only  know  her  for  a  saint  because  she  carries  a  palm  of 
martyrdom.  Characteristic  of  the  later  lordly  school  of 
Venice. 

1 131.  One  of  the  replicas  of  Raphael's  Julius  II.  (some 
say  the  original).  There  is  a  better  one  in  the  Pitti,  and  a 
third  in  the  National  Gallery. 

1141.  ♦♦Diirer's  Adoration  of  the  Magi.  Here  in  Flor- 
ence I  will  not  dwell  in  detail  on  this  noble  German  work, 
which  may  however  be  compared  in  all  its  details,  for  like- 
nesses and  differences,  with  Italian  representations.  The 
face  of  the  Madonna  and  of  the  Middle-aged  King  are 
essentially  and  typically  German.  The  whole  work,  indeed, 
is  redolent  of  German  as  opposed  to  Italian  feeling  :  yet 
Diirer  largely  influenced  contemporary  Italians.  In  northern 
art,  by  the  way,  and  as  a  rule  in  Lombardy  and  Venice,  the 
Young  King  is  a  Moor.  Note  how  in  this  picture  almost 
all  the  traditional  elements  remain  the  same,  yet  how  totally 
they  are  varied  by  the  divergent  spirit  of  the  northern  artist. 
Study  of  this  picture  and  the  Filippino  in  a  neighbouring 
room  is  a  fine  lesson  in  the  differences  between  German  and 
Italian  methods. 

1 1 22.  ♦Perugino.  Beautiful  Madonna  and  Child,  with  the 
St.  John  Baptist  of  Florence,  and  the  wounded  St.  Sebas- 
tian,— therefore,  a  plague  picture.  There  is  a  fine  replica  of 
the  last  pathetic  figure  in  the  Louvre.  This  and  Sodoma's 
are  the  mc3t  beautiful  St.  Sebastians  ever  painted.  Peru- 
gino's  is  pure  Umbrian  in  clearness  and  pietism  :  Sodoma's 


«rs* 


i6o 


FLORENCE 


[VI. 


f- 


has  the  somewhat  afiected  softness  and  -ylowing  light  of  that 
Sienese  Lombard. 

19/.  *Fine  portrait  by  Rubens  of  his  wife :  extremely 
natural. 

H14.  Guercino's  Sibyl,  astonished  to  find  nerself  in  such 
strange  company. 

1 108.  A  second  Recumbent  Venus  by  Titia:..  More 
simply  voluptuous  and  more  resembling  Pa^ma  Vecchio's 
type  than  the  forme>-  one.  Good,  but  fleshly :  it  foreshadows 
Veronese.  Beneath  it,  pictures  of  the  later  period,  master- 
pieces, no  doubt,  in  their  own  florid  way,  but  sadiy  out  of 
keeping  with  the  Perugino,  t'i:e  Diirer,  and  the  Raphael  of 
tl'    Cardellino. 

1 143.  Crown  of  Thorns,  by  Lucas  Van  Leyden. 

1 1 16.  *Portrait  of  Bcccadelli  by  Titian.  Admirable  but 
not  pleasing.    The  flesh  and  hands  splendidly  painted. 

1 139.  **Michael  Angelo's  Holy  Family,  with  about  as 
much  holiness  in  them  as  there  was  in  the  painter.  A  mag- 
nificent work,  on  an  uncongenial  subject.  Our  Lady  is  a  fine 
vigorous  woman  of  the  lower  orders,  with  an  unpleasing 
face,  and  splendid  arms  and  hands,  excellently  painted. 
The  pose  of  her  neck  is  wonderful.  The  Child  is  not  a 
divine  fipnre,  bi't  a  fine  study  in  anatomy  and  foreshorten- 
ing. The  baby  Si.  John  of  Florence  in  the  background  i^  a 
charming  young  Bacchu.s.  The  graceful  nude  figures  be- 
hind, disposed  in  glorious  attitudes,  show  what  Mi.:hael 
Angek>  really  cared  for.  This  is  a  triu-nphant  work  of  art, 
but  it  none  the  less  exhibits  the  futility  of  seUing  such  a  man 
to  paint  what  wer-;  thought  to  be  sacred  pictures.  Note  the 
^..aperies. 

Above,  a  fine  Vandyck  and  two  Cranachs,  (Adam  and 
Eve)  interesting  as  showing  the  crude  northern  conception 
of  the  unidealised  nude,  very  well  rendered.  Compare  this 
Eve,  in  its  faithful  likeness  to  a  commonplace  uadraped 
model,  with  Lorenzo  di  Credi's  graceful  Venus  in  an  adja- 
cent hall,  or  with  the  two  voluptuous  Venetian  Titians  in  this 
very  room.  Comrare  the  Adam,  again,  with  Perugino's  St 
Sebastian.    They  mark  the  difference  between  the  literal 


[Vl. 

d  "[lowing  light  of  that 

his  wife:    extremely 

to  find  nerself  in  such 

uis  by  Titiati.  More 
bling  Palma  Vecchio's 
fleshly :  it  foreshadows 
le  later  period,  master- 
l  way,  but  sadiy  out  of 
er,  and  the  Raphael  of 

Van  Leyden. 
ritian.    Admirable  but 
iplendidly  painted. 
Family,  with  about  as 
in  the  painter.     A  mag- 
ect.    Our  Lady  is  a  fine 
rs,  with  an  unpleasing 
ds,  excellently  painted. 
.    The  Child  is  not  a 
atomy  and  foreshoften- 
» in  the  background  L  a 
•aceful  nude  figures  be- 
;s,  show  what  Mi':hael 
triuTiphant  work  of  art, 
ity  of  settiiig  such  a  man 
;rcd  pictures.     Note  the 

Cranachs,  (Adam  and 
ide  northern  conception 
indered.  Compare  this 
commonplace  uadraped 
ceful  Venus  in  an  adja- 
;  Venetian  Titlans  in  this 
rain,  with  Perugino's  St 
nee  between  the  literal 


VI.] 


T/TE   UFFIZI,   EZC 


I6l 


simplicity  of  the  north  and  ihe  idealism  and  daintiness  rf 
the  south. 

in 8.  Correggio's  Repose  on  the  Flight  into  Egypt,  with 
St.  Francis  adoring.  Not  a  pleasing  specimen  of  '.he  great 
master. 

Far  more  interesting  and  typical  is  his  1134,  *the 
Madonna  adoring  the  Child,  a  pretty  Parman  woman, 
charmed  with  her  baby.  It  has  all  .hat  mastery  of  light  and 
shade,  and  that  graceful  delicacy  of  workmanship,  which  is 
peculiar  to  Correggio.  But  the  simper  is  affected,  and  the 
sacredness  is  of  course  a  negative  quantity.  A  pretty 
domestic  scene,  masouerading  as  a  Nativity. 

Above  it,  1135,  Lumi,  Herodias's  daughter  receiving  the 
head  of  John  the  Baptist.  The  princess's  face  is  fine  and 
characteristic,  but  the  work  as  a  whole  does  not  adequately 
represent  Luini  at  his  best.    It  is  cold  and  laboured. 

The  next  Room,  that  of  the 

MaeAtri  DIversi  Italiaiii, 

contains  small  pictures  of  the  later  period,  mostly  of  dimin- 
ished interest.  Amongst  them,  however,  are  some  fine  works. 
1025,  A  beautiful  and  delicately-finished  little  Mantegna, 
shouV  be  closely  noticed.  Its  bar'.;ground  is  glorious. 
IF 05,  A  rather  pretty  infant  Christ  lying  on  the  Cross,  by 
Allori,  has  a  certain  sentimental  interest.  I  will  allow  the 
reader  to  make  his  own  selection  among  these  minor  works. 
An  Annunciation,  by  Garofalo,,  1138,  may  be  instructively 
compared  wit'i  earlier  and  better  treatments.  Most  of  these 
pictures,  indeed,  are  chiefly  interesting  as  showing  how  later 
painters  did  iii  what  earlier  artists  had  done  much  better. 
They  are  studies  in  decadence. 
The  next  room  devoted  to  the 

Dutch  School 

contains  several  admirable  works,  some  of  which  are  of  the 

first  importance.    Such  are  :  972,  by  Metzu  ;  870,  by  Heems- 

i  kerck ;  905,  by  Van  der  Werf ;  854,  by  Mieris  ;  926,  by 

1  Gerard  Dou,  etc.    T^iese  works,  however,  have  no  natural 

I  organic  connection  with  Florence,  and  though  in  many 

L 


-  ' 


il 


7,".'«''!!'!?'V'^»". 


'6:1 


FLORENCE 


fvi. 


i. 


cases  extremely  beautiful  and  wonderfully  finished,  they 
seldom  require  any  explanation.  They  do  not  therefore  fall 
within  the  scope  of  this  work,  and  I  will  leava  them  to  the 
reader's  nativt.  appreciation. 

Somewhat  the  same  may  be  said  of  the  next  room,  con- 
taining 

Flemiflh  and  Qerman  pictures, 

many  of  which,  however,  are  in  their  subjects  more  cognate 
itrith  early  Italian  painting,  so  that  they  may  often  be  com- 
pared to  advantage  with  their  southern  compeers.  In  this 
room  you  cannot  afford  to  overlook  *78o  and  *8oi,  two  ex- 
quisite portraits  by  Memling.  ^778  is  a  lovely  portrait  by 
the  samo,  of  a  Benedictine  monk  in  the  character  of  St 
Benedict  —a  frequent  little  excuse  for  portraiture.  *777  is  a 
fine  head  of  St.  Philip  by  Diirer.  771  and  773,  are  good 
miniatures  of  saints  by  Poelemburg.  768,  a  companion 
picture  of  St.  James  by  Diirer.  **769,  an  unspeakably 
beautiful  portrait  by  Memling,  which,  as  an  example  of 
Flemish  style  may  be  compared  with  **766,  Dijrer's  essen- 
tially German  portrait  of  his  father,  marvellous  in  its  fidelity. 
838,  A  rather  coarse  portrait  of  Luther  by  Cranach.  847, 
The  same,  Melancthon.  845,  The  Electors  of  Saxony. 
765,  ♦*Holbein's  magnificent  portrait  of  Richard  Southwell, 
too  frank  to  be  flattering — immensely  superior  to  the  one 
in  the  Louvre.  795.  *Roger  Van  de  Weyden's  wonderful 
Deposition,  where  the  characteristics  of  northern  art  may  be 
well  contrasted  with  Italian  treatments  of  the  same  subject 
The  two  eider  saints  are  Joseph  of  Arimathea  and  Nico- 
demus.  784  is  a  fine  portrait  by  Anthony  Mor.  I  do  not 
dwell  on  any  of  these,  as  not  essential  to  Florence  :  but  if 
you  have  time  to  see  Ihem,  after  seeing  all  that  is  distinc- 
tively local,  they  will  well  repay  you  for  your  trouble. 
The 

Scuola  Plammingra  e  Tedesca,  Prima  Sala, 

similarly  contains  a  number  of  admirable  Flemish  and 
German  works.  Conspicuous  among  these,  on  the  wall 
»7hlcli  faces  you  as  you  enter,  near  th^  window,  is  **Mem 


mmm 


fvi. 


VI.] 


THE   UFFJZI,   ETC 


163 


Fully  finished,  they 
lo  not  therefore  fall 
I  leav3  them  to  the 

the  next  room,  con- 

ctures, 

bjects  more  cognate 
r  may  often  be  com- 
\  compeers.    In  this 
Jo  and  *8oi,  two  ex- 
a  lovely  portrait  by 
the  character  of  St 
ortraiture.    *777  is  a 
I  and  773.  are  good 
768,  a  companion 
769,  an  unspeakably 
1,  as  an  example  of 
**766,  Diirer's  essen- 
irvellous  in  its  fidelity, 
er  by  Cranach.    847, 
Electors   of  Saxony, 
of  Richard  Southwell, 
^  superior  to  the  one 
!  Weyden's  wonderful 
of  northern  art  may  be 
s  of  the  same  subject  I 
Arimathea  and  Nico- 
ithony  Mor.     I  do  not  I 
al  to  Florence  :  but  if  I 
ing  all  that  is  distinc- 
or  your  trouble. 

a.  Prima  Sala, 

Imirable  Flemish  andj 
ig  these,  on  the  wallj 
th*;  window,  is  **Mem-| 


ling's  exquisite  Enthroned  Madonna,  where  Our  Lady's 
face  is  (as  usual  with  Flemish  art)  somewhat  vagu^  and 
wooden, — a  convention  too  s!\  :r?d  fr-  i  to  tamper  with : — 
while  the  two  angels,  especially  t)',  ^ne  with  the  apple  to 
the  L,  are  absolutely  charming,  liie  exquisite  finish  of 
everything  in  this  triumph  uf  Flemish  painting  should  be 
carefully  noted  : — the  architecture  of  the  arches,  the  children 
holding  festoons  of  fruit  and  flowers  (themselves  most 
daintily  and  delicately  finished,)  the  delicious  clear-cut 
landscape  background,  the  richly- wrought  brocade  behind 
Our  Lady's  back,  her  hair  and  robe,  the  carpet  at  her  feet, 
the  draperies  of  the  angels,  and  the  lovely  ecclesiastical 
vestments  worn  by  the  apple-bearer,  all  deserve  the  closest 
study.  This  glorious  picture  glows  like  a  jewel.  Only  the 
fact  that  it  is  not  Italian  hurries  me  away  from  it.  But  dixl 
not  Mantegna  take  occasional  hints  from  such  festoons  as 
these  in  contemporary  Flemish  painters  ? 

Close  by  is  a  lovely  *Van  der  Goe  (or  Aldegrever  ?)  of 
the  Madonna  and  Child,  with  St.  Catherine  and  St.  Bar- 
bara (?)  and  angels  holding  a  crown  above  her  head. 
Though  inferior  both  in  feeling  and  finish  to  the  exquisite 
Madonna  of  the  Portinari  family,  by  the  same  artist,  at 
Santa  Maria  Nuova,  (which  go  and  see,)  it  is  nevertheless  a 
splendid  example  of  minute  Flemish  workmanship.  I  will 
only  direct  attention  to  the  hair  and  robe  of  the  Madonna 
and  the  architectural  enrichments. 

Other  pictures  on  the  same  wall,  well  deserving  study,  are 
Kulmbach's  (or  Schauffelein's)  Crucifixion  of  St.  Peter  and 
Conversion  of  St.  Paul ;  an  Adoration  of  the  Magi,  by  an 
unknown  isth  century  Fleming  (Gerard  David?  I  think" 
not) ;  and  some  good  little  genre  works  by  either  Teniers. 

Beyond  the  door,  charming  portrait  by  Joost  Van  Cleef, 
(Justus  of  Ghent)  of  a  Dominican  nun,  in  the  character  of  the 
Mater  Dolorosa.  An  Adam  and  Eve,  by  Floris,  show  once 
more  the  harsh  northern  conception  of  the  nude,  now 
largely  modified  by  Italian  example. 

The  end  wall  has  a  curious  triptych  by  Nicolas  Froment, 
the  painter  patronized  by  King  Rend  of  Anjou  (and  the 


^««iB*ii*'«i»«-|-ii-* 


rr*m-t 


164 


FLORENCE 


[VI. 


Meister  Korn  of  the  Germans).  In  the  centre  is  the 
Resurrection  of  Lazarus,  with  the  ghastly  expression  of 
returning  liiie  on  a  dead  man's  ''ace  rendered  with  painful 
truth  and  weird  imagination.  The  bystanders  holding  their 
noses  are  conventional  :  see  the  old  picture  in  the  Belle 
Arti.  The  painting  of  their  robes  is  very  characteristic.  L 
panel :  "  Lord,  if  Thou  hadst  been  here  our  brother  had  not 
died."  R  panel :  the  Magdalen  anointing  the  feet  of  Christ. 
The  Pharisee  in  this  and  the  central  picture  seems  to  me 
most  typically  German  :  but  there  are  also  undeniably  CId 
French  touches.  Lafenestre  claims  it  as  French.  Observe 
all  the  details.  On  the  flaps  outside,  in  grisaille,  L, 
Madonna  and  Child ;  R,  the  donors  kneeling.  Dated,  1461. 
Other  good  pictures  on  this  wall  I  cannot  particularise. 

L  wall,  731,  attributed  to  Jan  Van  Eyck,  (I  think 
erroneously  :  it  is  probably  Dutch)  *Adoration  of  the  Magi. 
Very  interesting  for  comparison  both  with  the  Italians  and 
the  Diirer.  Notice  the  Moorish  king,  the  architecture  of  the 
background,  and  the  shepherds  on  the  R  flap.  The  Old  King 
seems  almost  worthy  of  the  great  master :  perhaps  copied. 

Below,  749,  two  admirable  portraits  attributed  to  Petrus 
Cristus. 

Here  again  I  leave  many  flnc  works  unnoticed,  because 
of  their  want  of  connection  with  Florentine  art  or  history. 

For  the  same  reason  I  will  not  notice  any  of  the  works 

of  the 

French  School 

just  beyond,  though  Clouet's  Francois  I",  Wa*teau's  (?) 
Flute-player,  and  several  others  are  well  worth  attention. 

Now,  pass  out  of  this  suite  of  rooms  into  the  End  Corri- 
dor. The  door  to  the  L  leads  to  a  room  containing  the 
Qems,  many  of  which  are  worth  close  inspection.  The 
corridor  is  chiefly  occupied  with  sculpture,  though  it  has 
also  a  few  tolerable  pictures.  Cross  it  to  the  R,  observing  as 
you  go  the  charming  views  out  of  all  the  windows,  especially 
the  end  one,  looking  down  the  Amo.  Then,  turn  along  the 
Second  L^ng  Corridor,  on  the  west  side,  and  enter  the 
first  door  to  your  L,  which  gives  access  to  the 


m 


[VI. 

]e  centre  is  the 
tly  expression  of 
ered  with  painful 
ders  holding  their 
ture  in  the  Belle 
characteristic.  L 
ir  brother  had  not 
the  feet  of  Christ, 
ture  seems  to  me 
10  undeniably  Cld 
French.  Observe 
;,  in  grisaille,  L, 
,ng.  Dated,  1461. 
particularise. 

Eyck,  (I  think 
ation  of  the  Magi, 
h  the  Italians  and 
architecture  of  the 
ip.  The  Old  King 
perhaps  copied, 
iributed  to  Petrus 

jnnoticed,  because 
e  art  or  history, 
any  of  the  works 


Wa*teau's  (?) 
irorth  attention, 
to  the  End  Corri- 
>m  containing  the 

inspection.  The 
ire,  though  it  has 
he  R,  observing  as 
windows,  especially 
en,  turn  along  the 
de,  and  enter  the 

the 


VI.] 


THE  UFFIZI,   ETC 


165 


Scuola  Veneta,  Sala  Prima. 

This  room  is  full  of  good  work-,  (chiefly  bought  by 
Cardinal  Leopoldo  de'  Medici  from  a  Florentine  merchant 
at  Veni'.e)  which  excellently  exhibit  the  splendid  Venetian 
colouring.  They  are  not,  however,  of  the  first  importance, 
nor  does  the  Uiifizi  contain  a  sufficient  number  of  examples 
to  enable  you  to  form  a  conception  of  the  Venetian  School, 
especially  if  you  have  not  yet  visited  Venice.  (The  Pitti 
supplements  it.) 

Entrance  wall :  to  the  L  of  the  door  as  you  enter  ;  585, 
Pordenone's  fine  Portrait  of  a  Venetian  Gentleman,  well 
thrown  up  against  a  screen  of  wall,  with  admirable  colour 
and  accessories. 

Near  it,  604,  Carletto  Veronese,  (son  of  Paolo)  the 
Madonna  in  clouds  of  glory,  with  St.  Mary  Magdalen,  St. 
Justina,  Can  Frediano  of  Lucca,  with  his  rake,  etc.,  a 
picture  very  characteristic  of  the  later  debased  taste  of 
Venice.  The  Magdalen  has  the  face  and  costume  of  a 
courtesan. 

577,  Good  portrait  by  Paris  Bordone.  587,  Much  finer 
portrait  by  the  same. 

Above  it,  601,  Good  characteristic  portrait  by  Tintoretto 
of  a  Venetian  admiral,  where  his  peculiar  tone  of  red  is  well 
marked. 

L  wall ;  595,  Group  of  the  painter's  family,  by  Jacopo 
Bassano,  also  very  typical  of  the  later  Venetian  feeling. 

**6os  and  *599,  Portraits  by  Titian  of  the  Duke  and 
Duchess  of  Urbino,  admirable  as  works  of  art,  the  painting 
of  the  armour  and  robes  most  noteworthy,  but  the  Duchess's 
face  extremely  unpleasing.  The  Duke's  is  finely  and  boldly 
rendered. 

Above,  596,  Paolo  Veronese,  Esther  brought  before  Ahasu- 
erus.  The  central  figures,  the  architecture,  the  accessories, 
and  the  spectators,  of  this  good  work  are  all  extremely  char- 
acteristic of  Veronese's  manner.  The  whole  is  envisaged  as  a 
Venetian  pageant  of  his  time,  with  high-born  Venetian  ladies 
and  great  signiors  of  the  period.  Note  the  man  in  armour 
on  the  extreme  L,  with  the  more  commonplace  figure  who 


I 


i65 


FLORENCE 


[VI. 


balances  him  on  the  R.    Colour  and  composition  are  well 
worth  study  as  typical  of  the  painter. 

On  an  easel  close  by,  626,*  Titian's  Flora,  a  characteristic 
exampls  of  large,  idealised,  voluptuous,  aristocratic,  Vene- 
tian womanhood.  A  fine  model,  excellently  rendered. 
Hair,  arms,  and  robe,  are  all  admirably  painted.  Note  the 
dainty  hands,  with  shade  behind  them,  and  the  beautiful 
treatment  of  the  L  shoulder.  The  delicate  flesh-tints  could 
hardly  be  surpassed.  The  whole  work  is  most  light  and 
luminous.    The  colour  of  the  robe  on  the  R  is  lovely. 

594.  A  murky  Domenico  Tintoretto  of  an  apparition  of 
St.  Augustine.  Below  it,  a  characteristic  Jacopo  Bassano, 
Moses  and  the  Burning  Bush  :  both  good  examples  of  late 
Venetian  manner. 

End  wall,  3388,  Tintoretto's  Leda,  a  last  product  of 
the  type  initiated  by  Giorgione,  and  handed  on  by  Titian. 
A  graceful  enough  treatment  of  the  nude,  exquisite  in  its 
blended  colour,  less  voluptuous  and  more  ideal  than  Titian's 
models.  The  light  and  shade  are  marvellous.  Notice  tfie 
hands  and  feet,  and  the  curtain  in  the  background.  The 
attendant  by  the  chest  is  painted  in  one  of  Tintoretto's  pecu- 
liar attitudes. 

Below  it,  571,  attributed  to  Giorgione,  perhaps  by  Caroto, 
(or  Torbido)  a  noble  *portrait,  said  to  be  Gattamelata,  where 
face,  hair,  armour  and  everything  are  exquisitely  painted. 

Next  it,  **i  1 1 1,  a  marvellous  triptych  by  Mantegna.  One 
of  the  minutest  and  finest  works  of  the  great  master's  early 
period.  Its  finish  is  exquisite.  Note  the  influence  of  north- 
ern art  in  it.  The  central  panel,  slightly  curved,  consists  of 
an  Adoration  of  the  Magi,  where  the  face  of  the  Madonna 
and  the  treatment  of  the  Child  are  highly  typical  of  Man- 
tegna's  manner.  The  tall  bent  St.  Joseph,  the  realistic 
portrait-like  faces  of  the  Three  Kings,  (almost  German  or 
Flemish  in  tone)  the  camels  and  cortege  in  the  background, 
the  cave  behind,  and  the  still  half  conventional  rocks,  should 
all  be  noted.  Observe,  too,  how  in  North  Italian  art  inter- 
course with  the  East  (through  Venice)  makes  the  calvacade 
of  the  Kings  really  oriental  in  costume  and  features.    All 


[VI. 

iposition  are  well 

a,  a  characteristic 

iristocratic,  Vene- 

;llently   rendered. 

ainted.    Note  the 

and  the  beautiful 

te  flesh-tints  could 

s  most  light  and 

I  is  lovely. 

an  apparition  of 

Jacopo  Bassano, 

examples  of  late 

I  last  product  of 
ded  on  by  Titian, 
e,  exquisite  in  its 
ideal  than  Titian':, 
llous.  Notice  tfie 
background.  The 
■  Tintoretto's  pecu- 

erhaps  by  Caroto, 
lattamelata,  where 
uisitely  painted. 
r  Mantegna.  One 
eat  master's  early 
influence  of  north- 
curved,  consists  of 
e  of  the  Madonna 
y  typical  of  Man- 
>eph,  the  realistic 
almost  German  or 
in  the  background, 
ional  rocks,  should 
1  Italian  art  inter- 
ikes  the  calvacade 
and  features.    All 


VI.] 


THE  VFFtZI,   ETC 


167 


the  faces  in  the  background  are  fine  studies  of  Asiatic  or 
African  types.  This  is  a  picture  to  look  into  and  dwell  upon. 
To  the  L  is  the  Resurrection,  where  the  straining  upward 
faces  and  necks  show  Mantegna's  love  of  setting  himself 
difficulties  to  conquer.  Each  of  these  attitudes  and  faces 
deserves  close  study.  To  the  R,  the  Circumcision,  where 
the  shrinking  boy  in  the  Madonna's  arms,  and  the  aged 
figures  close  by,  are  thoroughly  Mantegnesque.  Observe  the 
typical  Paduan  enrichment  of  the  architectural  background, 
and  the  Venetian  touch  in  the  bystander  child  sucking  his 
finger.  Every  part  of  this  magnificent  work  demands  close 
attention.  I  have  treated  of  it  more  fully  in  one  of  my 
articles  in  the  Pali-Mall  Magazine. 

♦648.  Titian,  pretty  portrait  of  Caterina  Comaro,  Queen 
of  Cyprus,  in  the  character  of  St.  Catherine,  whose  spiked 
wheel  just  appears  in  the  background.  There  is  nothing 
else  saintly  about  this  attractive  portrait  of  a  lovely  and 
richly-dressed  Venetian  woman.  The  purple  satin  of  her 
sleeves,  the  rich  green  brocade,  the  jewellery  and  gewgaws, 
and  the  regal  head-dress,  are  admirably  painted.  Notice 
especially  the  pearls,  each  produced  by  a  few  consummate 
touches.  Note  how  art  has  become  conscious  and  triumph- 
ant :  it  does  things  now  with  a  twist  of  the  hand  which  earlier 
it  elaborated  with  endless  minuteness. 

Beyond  the  door,  586,  noble  portrait  by  Moroni  :  fine  in 
attitude,  expicssion,  and  detachment  from  its  background. 

R  wall,  631,  Giovanni  Bellini.  The  Madonna  by  the 
Lake,  a  curious  and  unusual  mystic  attempt  on  this  great 
painter's  part  to  introduce  novelty  and  variety  into  the 
groups  of  saints  attendatjt  on  Our  Lady.  He  had  an  order 
for  so  many,  and  he  tried  to  vivify  their  grouping.  To  the 
extreme  L  is  the  Madonna  enthroned,  without  the  infant 
Saviour.  (I  cannot  account  for  this  unusual  omission :  was 
it  for  a  mother  who  had  lost  her  baby  ?)  Beside  her  kneels 
St.  Catherine  of  Alexandria,  crowned  ;  to  the  L,  a  most  un- 
conventional Catherine  of  Siena  (?).  Behind  the  parapet  stand 
St.  Peter  and  St.  Paul,  the  former  only  recognisable  by  the 
type  of  his  features.    Below,  children  are  playing  with  fruit, 


168 


FLORENCE 


and  with  a  symbolical  tree,  perhaps  that  of  the  future  Cross. 
As  the  fi^  lies  have  no  haloes  it  is  impossible  to  decide  which 
is  intended  for  the  infant  Saviour,  but  I  take  him  to  be  the 
>ne  phyin,  'Mti  the  tree,  a  natural  symbol.  To  tb :  extren" 
ii  ire  ''i'  ,;••>  ^.-eat  pla;^  je-saints,  St.  Job,  ihe  patriarch, 
iW;  ..?v<  :r'*cnlii-t  u  the  Adriatic,  ant.  well  seen  in  Bellini's 
Jjittri^  ti-^jji  .■  I'ictute  from  San  Giobbe  now  in  the  Academy 
at  •'  I,  ;  *,;  ru  J  ^t.  Sebastian,  pierced  with  arrows,  proving 
this  woik  to  be  ;i  t  likely  a  votive  plague-picture.  In  the 
background  a>  t  oL  er  curious  episodes,  St.  Antony  the 
Hermit  with!the  Satyr,  etc.  The  landscape,  with  its  artificial 
rocks,  is  peculiar  and  poetical  :  it  should  be  compared  with 
Mantegna,  Bellini's  fellow-pupil  and  brother-in-law.  But  I 
half  doubt  the  ascription.  This  strangely  mystic;  picture  is, 
if  authentic,  unique  among  Bellini's  works  ;  whoever  painted 
it,  it  represents  an  abortive  attempt  ?.t  that  freer  style  of  Sacra 
Conversazione  which  was  later  achieved  in  another  form  by 
Titian  and  his  successors.  (Some  authorities  attribute  this 
work  to  Basaiti.) 

Above  it,  *584  and  *584  bis,  two  good  pictures  by  Cima 
da  Conegliano,  exhibiting  well  the  Bellinesque  type  of 
Venetian  Madonna,  with  her  serene  and  queenly  features, 
her  strong  column-like  neck,  and  her  peculiar  head-dress. 
Notice  the  naked  children,  and  the  painting  of  the  hands. 
The  St.  Peter  with  the  keys  is  hijiily  characteristic  of  Vene- 
tian treatment.  This  fyr-e  of  Madonna,  best  seen  in  Bellini 
at  Venice,  devclopes  at  last  Into  Titian's  ideal.  Its  evolution 
is  interesting.  The  roundiaced,  strong-necked,  matronly 
Venetian  Madonna,  extremely  unlike  any  other  Italian 
representation  of  Our  Lady,  seems  to  be  ultimately  denved 
from  the  school  of  Cologne,  through  Giovanni  da  Allemagna, 
a  Rhenish  artist  who  settled  at  Venice,  and  founded  the 
school  of  the  Vivarini.  His  type,  altered  and  beautified  by 
Bellini,  was  further  modified  by  Titian  and  bis  successors, 
but  always  retained  at  Venice  its  matronly  roundness  and 
its  fine  neck.  Elsewhere  in  Kaly  the  Madonna,  derived 
directly  from  the  thin-faced  fretful  Byzantine  type,  is  slight 
and  girlish,  no  matter  how  varied  in  other  particulars. 


[VJ. 

■  the  future  Cross, 
le  to  decide  which 
ke  him  to  be  the 
,  To  th :  extrer"" 
ob,  ihe  patriarch, 

seen  in  Bellini's 
'  in  the  Academy 
h  arrows,  proving 
K-picture.  In  the 
,  St.  Antony  the 
e,  with  its  artificial 
t)e  compared  with 
ler-in-law.  But  I 
mystic,  picture  is, 
;  whoever  painted 
reer  style  of  Sacra 
1  another  form  by 
ities  attribute  this 

pictures  by  Cima 
ilinesque  type  of 
queenly  features, 
culiar  head-dress, 
ing  of  the  hands, 
acteristic  of  Vene- 
)est  seen  in  Bellini 
leal.  Its  evolution 
-necked,  matronly 
my  other  Italian 
ultimately  derived 
mni  da  Allemagna, 
,  and  founded  the 
and  beautified  by 
nd  his  successors, 
ily  roundness  and 
Madonna,  derived 
tine  type,  is  slight 

■  particulars. 


I 


VI 3 


mS   VFFIZI,    ETC 


169 


*S83  bis. 
subject,  (o 
most  typii.. 


.  ragme:'*\ry  Carpaccio,  of  some  Old  Testament 
.".  Way  ,.0  Calvary)  where  all  the  *=  jui«ss  ate 
:  of  their  painter. 

579-  Annun-iation  of  th"  5d.v. -1  of  Paolo  Veronese: 
(Morelli  attributes  it  to  Zelotti.)  The  Madonna  is  one  of 
Veronese's  Venetian  modelc.  The  action  takes  place  in  a 
vast  loggia,  of  the  school  of  Sansovino,  where  only  the 
formr-l  arrangement  reminds  one  of  the  empty  central  colon- 
nade in  Neri  ui  Bicci's  pictures.  The  Announcing  Angel, 
with  his  annunriation  lily  in  his  hand,  just  descended  from  the 
sky,  and  raising  his  hand  with  a  theatrical  gesture,  contra.sts 
in  every  r  spect  with  earlier  and  more  sacred  treatments. 
He  is  just  a  plump  Venetian  figure,  ostentatiously  posing 
himself  in  what  he  v'onsiders  a  telling  attitude.  It  is  inter- 
esting to  note  here  the  retention  of  all  the  formal  features, 
(such  as  the  garden  in  the  background,  the  priedieu,  etc.,) 
side  by  side  with  the  utter  and  lamentable  transformation  in 
the  spirit  '  the  scene.  Note  the  Holy  Ghosi,  descending  in 
the  midst  in  a  vague  glory  of  cherubs.  You  cannot  properly 
understand  such  pictures  as  these  unless  you  have  first 
studied  earlier  representations  of  the  same  subjects. 

592.  Sebastiano  del  Piombo.  The  Death  of  Adonis.  A 
Renaissance  mythological  subject,  treated  in  Sebastiano's 
earlier  manner,  almost  wholly  Venetian,  but  with  tinges  of 
Roman  influence  beginning  to  show  in  it. 

Just  beyond,  578,  pleasing  portrait  by  Paris  Bordone. 

575,  Lorenzo  Lotto's  Holy  Family,  with  St.  Anne  and  the 
Madonna  in  a  familiar  attitude,  (we  have  seen  it  before)  and 
St.  James  and  St.  Jerome  introduced  in  the  background.  It 
should  be  compared  with  the  pair  by  Cima  close  by,  to  show 
the  development  in  Venetian  treatments  of  this  subject, 

574-  Polidoro  Veneziano,  the  Madonna  and  Child  with  St. 
Francis,  where  the  composition  and  the  landscape  back- 
ground are  in  the  style  initiated  by  Titian. 

Entrance  wall,  again,  572,  Paolo  Veronese's  St.  Catherine, 
the  exact  analogue  of  the  Annunciation  just  noticed. 

Below  it,  627,  attributed  to  Sebastiano  del  Piombo  (prob- 
ably Dosso  Dossi.)    Striking  portrait  of  a  G'  >eral. 


I 


i^' 


170 


FLORENCE 


[VI. 


The  next  room,  the 

Second  Hall  of  the  Venetian  School, 

has,  L  of  the  door,  590,  a  Madonna  and  Child  with  St.  John, 
by  Titian,  in  a  mandorla  of  cherubs.  A  good  picture  in  a 
transitional  manner. 

Near  it,  609,  reduced  copy  of  Titian's  celebrated  Battle  of 
Cadore,  (burnt  in  the  fire  at  the  Doge's  Palace  in  1577)  a 
work  noted  for  its  life  and  movement,  and  its  vigorous 
treatment. 

3390.  Tintoretto,  one  ofhis  finest  portraits,  full  of  character 
and  diKnity,  and  admirable  in  colour. 
613.  Fine  luminous  portrait  by  Paris  Bordone. 
The  L  wall  has  a  fine  portrait  of  Sansovino  the  sculptor, 
by  Tintoretto  :  636,  Crucifixion,  by  Paolo  Veronese,  well  ex- 
hibiting the  later  non-sacred  conception  of  this  subject  :  and 
*633,  a  beautiful  Madonna  and  Child,  with  the  boy  Baptist 
and  St.  Antony  the  Hermit,  by  Titian.  The  last  i  i  one  of 
his  most  exquisiite  Madonnas.  Alx)ve  it,  admirable  cartoon 
by  Bellini  (or  of  his  School)  for  a  Pietk. 

End  wall,  623,  a  fine  Holy  Family  with  St.  Mary  Mag- 
dalen by  I'alma  Vecchio,  (perhaps  a  copy)  in  which  the  face 
and  head-dress  of  the  Madonna  and  the  face  and  hair  of  the 
Magdalen  should  be  carefully  compared  with  Cima  and 
Titian.     Rich  and  well-harmonised  colour. 

Beneath  it,  639,  fine  portrait  of  a  Man  with  a  Guitar  by  an 
unknown  artist  (Moretto  i') 

No.  625  exhibits  Titian's  most  mundane  style  of  Madonna, 
with  a  well-made  Venetian  young  lady  in  the  character  of 
St.  Catherine.  The  infant  Christ  has  here  attained  the 
furthest  height  of  Renaissance  treatment,  while  Our  Lady's 
face  is  frankly  human  and  lady-like.  Trace  its  evolution  by 
the  aid  of  *.he  Palma  above  it,  the  Bellini,  the  Cima,  etc. 

*63o.  Giorgione's  Judgment  of  Solomon,  with  fine  land- 
scape background  and  striking  figures.  This  and  its  com- 
panion piece  are  among  the  very  few  works  attributed  to 
this  great  Master  which  Morelli  allows  to  be  authentic. 
They  were  probably  painted  in  his  17th  or  i8th  year.    The 


[VI. 


School, 

lild  with  St.  John, 
i;ood  picture  in  a 

lebratcd  Battle  of 

?dace  in   1577)  a 

and  its  vigorous 

ts,  full  of  character 

irdone. 

jvino  the  sculptor, 
Veronese,  well  ex- 
f  this  subject  :  and 
th  the  boy  Baptist 
The  last  i  i  one  of 
admirable  cartoon 

th  St.  Mary  Mag- 

r)  in  which  the  face 

ace  and  hair  of  the 

d  with  Ciina  and 

r. 

vith  a  Guitar  by  an 

;  style  of  Madonna, 
in  the  character  of 

here  attained  the 
t,  while  Our  Lady's 
ace  its  evolution  by 

the  Cima,  etc. 
ion,  with  fine  land- 

This  and  its  com- 
vorks  attributed  to 
IS  to  be  authentic, 
or  18th  year.    The 


VI.] 


THE   VFFIZI,    ETC 


171 


deep  colour,  the  sparkling  touch,  the  feeling  for  nature,  and 
the  line  drawing  of  the  figure  arc  there  already. 

589.  Paolo  Veronese's  Martyrdom  of  St.  Justina.  A 
Venetian  lac*/,  pallid  from  fear,  with  Moors  and  negroes  as 
bystanders  or  executioners,  and  portraits  of  Venetian  gentle- 
men as  Roman  officials,  afraid  of  getting  their  fine  robes 
spoiled  by  the  spurting  blood  of  the  martyr.  A  most  frank 
instance  of  a  sacred  subject  distorted  from  its  purpose,  but 
pieaiiing  in  colour  and  large  in  treatment.  Nice  architec- 
ture. 

Above  it,  628,  Bonifazio's  L  st  Supper. 

*62i.  Giorgione,  the  Child  Moses  undergoing  the  ordeal 
of  fire— a  legendary  subject  Compare  with  the  companion 
piece. 

**622.  Giorgione,  splendid  portrait  of  a  Knight  of  Malta  : 
a  noble  and  authentic  work,  very  much  repainted. 

642.  Good  portrait  by  Moroni. 

R  wall:  619.  Palma  Vecchio's  *Judith,  which  strikes  a 
key-note.  It  is  very  much  injured.  618,  Unfinished  Ma- 
donna and  Child,  by  Titian,  a  copy  of  his  famous  Pesaro 
Madonna  at  Venice.  617,  Tintoretto's  Marriage  at  Cana, 
a  sketch  for  the  great  picture  at  Venice,  with  alterations. 
On  the  same  wall,  several  good  portraits. 

Entrance  wall,  by  the  door,  Transfiguration  by  Savoldo, 
with  the  curious  mode.n  touch  and  tendency  of  that  very 
original  Lombard  painter.  Note  the  transformation  of 
earlier  conceptions.  Above  it,  646,  Tintoretto's  Sacrifice 
of  Isaac. 

I  do  not  enlarge  upon  many  of  these  pictures,  because  the 
Venetian  school  is  so  much  better  studied  in  Venice  than  at 
Florence,  where  the  series  is  but  fragmentary.  Those  who 
have  visited  Venice  will  be  able  to  put  most  of  these  works 
into  their  proper  order  in  the  evolution  of  Venetian  painting. 
For  those  who  have  not,  they  must  remain  unplaced  till 
another  visit. 

Return  to  the  Second  Long  Corridor,  and  take  the  first 
door  to  the  L,  which  leads  through  a  passage  (with  Portraits 
of  Painters)  to  the 


iU 


(I   :- 


1 


17a 


FLORENCR 


[VI. 


Sal*  di  Lx>r«nzo  Monaco. 

This  room  contains  some  of  the  finest  and  most  interestini; 
works  of  the  Early  Florentine  period.  L  of  the  door,  as 
you  enter,  *i3io,  Gentile  da  Fabriano  :  four  isolated  saints, 
portions  of  an  altar-piece,  with  the  Madonna  (who  once  was 
there)  omitted.  L,  St.  Mary  Maydalen,  with  her  alabaster 
box  of  ointment.  Next  to  her,  St.  Nicolas  of  Hari,  with  his 
golden  balls  :  on  his  robes  are  embroidered  the  Nativity, 
the  Adoration  of  the  Magi,  the  Flight  into  Egypt,  the  Mas- 
sacre of  the  Innocents,  the  Presentation  in  the  Temple,  and 
the  Baptism  of  Christ.  Note  such  subjects  hereafter,  em- 
broidered on  the  robes  of  other  bishops.  They  often  throw 
light  on  the  personages  represented.  Then,  St.  John  Bap- 
tist of  Florence,  as  the  ascetic  saint,  and  St.  George,  with 
the  red  cross  on  his  lance  and  shield,  a  striking  figure.  In 
the  cuspidi  above,  other  saints  and  angels.  This  picture 
comes  from  the  church  of  St.  Nicolas  in  Florence,  and  the 
Nicolas  stood  on  the  R  hand  of  Our  Lady. 

1302,  beneath,  Benozzi  Gozzoli,  Predella  :  (i)  Marriage  of 
St.  Catherine  of  Alexandria,  a  charming  girlish  figure  :  (a) 
Fieta  with  St.  John  and  the  Magdalen  :  (3)  St.  Antony  with 
his  crutch  and  book,  and  St.  Benedict  holding  a  book  and 
arrow.     From  Santa  Croce. 

End  wall,  **I309,  Don  Lorenzo  Monaco.  Great  altar- 
piece  of  the  Coronation  of  the  Virgin,  in  a  magnificent 
tabernacle  of  three  arches.  Adequately  to  describe  this 
noble  picture,  the  only  important  work  now  remaining  by 
Fra  Angelico's  master,  would  require  many  pages.  I  note 
a  few  points.  Below,  the  circles  of  heaven,  with  stars  and 
angels.  Centre,  once  a  reliqucr  now  gone,  about  which 
angels  swing  censers. 

In  the  group  of  saints  under  the  L  arch  ;  nearest  the 
throne,  St.  John  Baptist  of  Florence  ;  then,  St.  Peter  (keys), 
and  St.  Benedict,  scourge,  (this  being  a  Camaldolese-Bene- 
dictine  picture,  pr.inted  for  Don  Lorenzo's  own  monastery 
of  the  Angeli  at  Florence  :)  above  him,  St.  Stephen,  with 
the  stones  on  his  head  ;  beside  whom  stands  St.  Paul,  hold- 
ing his  sword  and  his  Epistle  to  the  Romans ;  then,  St. 


lilri  liiilAtiil 


[VI. 

>. 

[  most  interesting 
L  of  the  door,  as 
ur  isolated  saints, 
na  (who  once  was 
fith  her  alabaster 
J  of  Hari,  with  his 
red  the  Nativity, 
)  Egypt,  the  Mas- 
1  the  Temple,  and 
cts  hereafter,  em- 

They  often  throw 
en,  St.  John  Bap- 
,  St.  George,  with 
triking  figure.  In 
els.    This  picture 

Florence,  and  the 

[ :  (i)  Marriage  of 
girlish  figure :  (2) 
3)  St.  Antony  with 
ilding  a  book  and 

aco.  Great  altar- 
in  a  magnificent 
'  to  describe  this 
now  remaining  by 
iny  pages.  I  note 
en,  with  stars  and 
{one,  about  which 

arch  ;  nearest  the 
n,  St.  Peter  (keys), 
"amaldolese-Bene- 
>'$  own  monastery 
St  Stephen,  with 
ads  St.  Paul,  hold- 
womans ;  then,  St. 


VI.] 


THE   VFFIZI,    ETC 


173 


James  the  Greater,  (with  a  stafT),  St.  Antony  Abbot  (crutch) 
and  other  saints  less  discernible,  among  whom  I  believe  I 
detect  St.  Louis  of  France,  and  St.  Louis  of  Toulouse.  In  the 
opposite  arch  ;  on  the  extreme  R,  (to  balance  St.  Benedict) 
in  white  robes,  St.  Romuald,  founder  of  the  Camaldolese 
order  (a  branch  of  the  Benedictines  ;)  next  him,  St.  Andrew 
and  St.  John  the  Evangelist ;  behind  the  last,  St.  Lawrence, 
with  his  gridiron,  (Lorenzo's  name  saint ;)  St.  Bartholomew 
with  his  knife  ;  and  St.  Francis  with  his  Franciscan  robei 
and  crucifix.  Between  the  last  two,  a  bishop,  probably  San 
Ziinobi,  as  his  mitre  bears  the  Florentine  lily.  Between 
him  and  St.  Francis  is,  I  think,  St.  Vincent.  The  rest  I 
cannot  decipher.  Observe  the  numerous  angels,  represent- 
ing the  monastery.  In  the  cuspidi,  an  Annunciation,  and 
Christ  blessing.  Many  of  the  figures  on  the  frame  may  also 
be  identified.  L,  King  David,  Noah  with  the  ark,  and  other 
Old  Testament  characters.  R,  Daniel,  Moses  with  the  stone 
tables,  and  various  prophets.  The  predella  contains  Bible 
scenes,  and  Stories  from  the  Life  of  St.  Benedict,  (i)  His 
death,  where  his  disciple  St.  Maurus  sees  his  soul  ascend- 
ing to  heaven  :  (2)  his  teaching  in  his  monastery,  with  St. 
Maurus  and  the  young  monk  who  was  tempted  by  the 
devil.  (See  the  same  subject  in  the  very  different  St.  Bene- 
dict series  by  Francesco  di  Giorgio  Martini  in  the  Scuola 
Toscana,  3"  Sala).  (3)  Nativity  and  (4)  Adoration  of  the 
Magi :  (5)  St.  Benedict  in  his  cell  with  Benedictine  saints, 
male  and  female :  he  sends  out  St.  Maurus  to  rescue  St. 
Placidus  from  drowning  :  (6)  resuscitation  of  a  novice, 
killed  by  a  falling  house  at  the  Convent  of  Monte-Cassino. 
(The  same  scenes  occur,  with  others,  in  Spinello  Aretino's 
frescoes  in  the  Sacristy  at  San  Miniato.)  Taking  it  all 
round,  a  noble  work  for  its  date,  worth  close  study. 

1305.  ^Domenico  Veneziano,  Madonna  knd  Child,  en- 
throned, under  a  very  peculiar  canopy,  with  St.  John  Baptist, 
St.  Francis  (Bernard?),  San  Zanobi,  and  St.  Lucy.  (It  was 
painted  for  the  church  of  St.  Lui  it  Florence.)  A  hard 
picture,  in  very  peculiar  colouring,  ,  A  with  fine  drawing 
and  good  characterisation.     It  is,  iu  point  of  fact,  an  early 


lllWKillWi  f  III!  niKiiWiriW-  •' 


gm 


fpnfWWiff" 


anMIU^.  ...w'l 


I. 


174 


FLORENCE 


[VI. 


attempt  at  oil-painting,  the  secret  of  wliich  Dor  .ico  had 
learnt,  and  which  he  imparted  to  Andrea  del  Casiagno,  who 
murdered  him  in  order  that  he  alone  might  possess  it.  The 
colouring  is  clear  and  bright,  but  lacks  harmony  :  it  is  any- 
thing but  melting.  The  drawing  and  composition  remind 
one  of  Andrea  del  Castagno. 

24.  Lorenzo  di  Crcdi.    Virgin  adoring  the  Child.    The 
infant  exquisite. 

1286.  **Botticelli's  Adoration  of  the  Magi.  One  of  the 
painter's  finest  sacred  works,  where  all  the  conventional 
elements  are  retained,  while  a  totally  ntw  meaning  is  given 
to  the  merest  detail,  such  as  the  great  ruined  classical 
temple,  and  far  more  to  the  group  of  attendants  on  the 
Three  Kings,  all  of  whom  are  contemporary  Florentine  por- 
traits. Notice  in  the  figure  of  the  Young  King,  to  the  R,  in 
white,  (a  portrait  of  Lorenzo  de'  Medici)  how  completely 
Botticelli  has  transformed  and  spiritualised  the  earlier  con- 
ception. The  portrait  faces  of  all  the  Three  Kings,  indeed, 
are  exquisitely  beautiful ;  the  eldest,  seen  in  profile,  is  Cosimo 
Pater  Patriae.  Equally  fine  is  the  group  of  men  of  letters 
and  statesmen  to  the  R.  Do  not  overlook  the  poetical  Botti- 
cellian  touch  in  the  light  gauze  veil  thrown  over  the  Second 
King's  gift,  nor  the  fur 'on  his  dress,  nor  the  dainty  painting 
of  the  peacock  on  the  r-.in,  nor  the  thoughtful  face  of  the 
draped  figure  in  yellow,  to  the  extreme  R,  nor  the  haughty 
aristocratic  mouths  of  the  Medici  to  the  L,  nor  indeed  any- 
thing about  this  wonderful  picture.  Every  face  is  signifi- 
cant, every  fold  of  the  drapery  is  beautiful  and  flowing. 
(From  Santa  Maria  Novella.) 

1297.  *Ghirlandajo's  beautiful  Madonna  and  Child,  with 
adoring  Angels,  a  work  of  his  early  manner.  All  the  details 
of  this  picture  are  marvellous.  Observe  the  architecture 
and  decoration  of  the  canopy,  and  the  trees  in  the  back- 
ground. Also,  the  carpet  on  the  steps,  and  the  vase  of 
flowers,  including  Florentine  lilies.  One  stage  below  the 
Madonna  stand  the  two  archangels,  Michael  with  his 
sword,  and  the  half-womanish  Raphael  with  the  box  of  oint- 
ment he  carried  to  Tobit,— both  exquisite  figures  in  Ghir- 


IfH 


tarn 


[VI. 

liich  Dor    sicohad 

I  del  Casiagno,  who 
fht  possess  it.  The 
larmony  :  it  is  any- 
:omposition  remind 

ng  the  Child.    The 

Magi.    One  of  the 

II  the  conventional 
V  meaning  is  given 
lat  ruined  classical 
"  attendants  on  the 
ary  Florentine  por- 
f  King,  to  the  R,  in 
ci)  how  completely 
>ed  the  earlier  con- 
hree  Kings,  indeed, 
in  profile,  is  Cosimo 
p  of  men  of  letters 
c  the  poetical  Botti- 
-n  over  the  Second 
the  dainty  painting 
ughtful  face  of  the 
R,  nor  the  haughty 
L,  nor  indeed  any- 
ery  face  is  signifi- 
utiful  and  flowing. 

la  and  Child,  with 
ler.  All  the  details 
■e  the  architecture 
trees  in  the  back- 
i,  and  the  vase  of 
5  stage  below  the 
Michael  with  his 
ith  the  box  of  oint- 
te  figures  in  Ghir- 


i'l^ttiki 


M«r| 


VI.] 


THE   UFFIZI,   ETC 


175 


landajo's  most  attractive  manner.  A  step  lower  down  kneel 
two  sainted  bishops  ;  to  the  R,  San  Zanobi  (with  the  lily  on 
his  morse,)  to  the  L,  another,  who  is  probably  St.  Just, 
because  the  picture  comes  from  the  church  of  San  Giusto, 
near  Florence.  Nv.te  the  figures  on  their  robes..  This  is 
one  of  Ghirlandajo's  best  and  most  carefully  painted  panels. 

17.  *Fra  Angelico's  famous  tabernacle  of  the  Madonna 
and  Child,  with  St.  John  Baptist  and  St.  Mark  the 
Evangelist,  patrons  of  Florence  and  of  the  Convent  of  San 
Marco.  This  is  an  early  picture  (1433),  the  drawing  still 
very  crude;  and  rigid.  It  has  a  draped  and  somewhat  vapid 
infant,  Giottesque  in  type  :  and  its  Madonna  disappoints  : 
but  round  its  frame  are  charming  angels,  continually  copied. 
On  the  outside  of  the  flaps,  St.  Peter  and  St.  Mark  again  (or 
is  it  St.  Jerome?)  with  the  iion.  Beneath  it,  1294,  its  pre- 
della,  relating  to  these  same  saints.  In  the  L  compartment, 
St.  Peter  preaches  at  Rome,  while  St.  Mark  the  Evangelist 
takes  down  his  words  to  write  his  gospel.  Centre,  Adora- 
tion of  the  Magi,  where  the  action  of  one  of  the  Kings  and 
Joseph  is  verj'  unusual.  In  the  R  compartment,  Martyrdom 
of  St.  Mark,  who  is  dragged  by  a  rope  at  Alexandria,  with 
the  overthrow  of  his  assailants  by  hail  and  lightning  :  in  the 
background,  Christ  appearing  to  him  in  prison.  (Painted 
for  the  Guild  of  Linen  Merchants,  whose  patron  was  St. 
Mark.) 

R  hand  wall,  39,  **Botticelli's  exquisite  Birth  of  Venus, 
one  of  the  most  lovely  embodiments  of  Renaissance  feeling. 
It  was  painted,  like  the  Primavera,  which  it  closely  resembles 
in  tonp  and  feeling,  for  Lorenzo  de'  Medici's  villa  at  Castello. 
In  the  centre,  Venus  rises  nude  from  a  foaming  sea,  throned 
on  a  scallop  shell.  Her  figure  has  a  strange  elusive  beauty. 
Her  long  fair  hair,  her  wistful  face,  her  lithe  ideal  form,  are 
wholly  Botticellian.  The  picture,  though  pagan,  is  anything 
but  classical :  it  has  modern  pessimism  in  it.  As  a  Tuscan 
embodiment  of  the  nude,  a^ain,  compare  this  unspeakably 
graceful  form  with  Lorenzo  di  Credi's  merely  human  Venus 
in  the  Sala  Seconda  Toscana.  The  paleness  of  the  flesh- 
tints  only  enhances  the  ideal  feeling  of  the  work.     To  the  L, 


i 


'».*I»JlS»iJiSSU.,v, 


i^R^ 


WiWilW»lifP!ii    - 


T^ 


176 


FLORENCE 


[VL 


figures  resembling  the  March  and  April  of  the  Primavera 
scatter  flowers  around  the  goddess.  To  the  R,  a  draped 
form,  like  the  May  of  the  Primavera,  prepares  to  throw  a 
brocaded  mantle  over  Venus's  shoulders.  All  the  figures 
and  draperies  are  instinct  with  Botticelli's  peculiar  flowing 
movement.  This  is  a  picture  to  linger  before  for  hours.  It 
embodies  better  than  any  other  the  pagan  side  of  this 
earnest  painter's  natiire.  Yet  its  paganism  is  superficial : 
the  ascetic  ideal,  the*  profound  moral  yearning,  are  every- 
where apparent. 


The  pictures  in  the  remaining  rooms,  though  in  many 
cases  valuable  and  interesting,  do  not  call  for  explanation. 
The  next  halls  to  the  left,  as  you  continue  along  the  Corridor, 
are  devoted  to  Portraits  of  Painters  (or  what  pass  for  such), 
chiefly  by  themselves,  but  in  several  instances  of  doubly 
doubtful  authenticity — ♦bat  is  to  say,  it  is  not  always  certain 
that  they  are  really  the  work  of  the  artists  whose  names 
they  bear,  nor  again  that  they  rep  esent  the  person  they  are 
said  to  portray.  Among  the  most  important  (with  this  need- 
ful reservation)  are  Raphael,  Perugino,  Cranach,  Holbein 
the  \ounger.  Van  der  Heist,  Van  Dyck,  Titian,  and  Rubens. 
Of  later  painters,  the  most  often  noticed  is  the  charming  if 
somewhat  coquettish  Mme.  le  Brun,  familiar  from  copies  ; 
the  most  noteworthy  are  Angelica  Kaufmann,  Ingres,  Jules 
Breton,  Watts,  Millais,  Puvis  de  Chavannes,  Leighton,  and 
Cabanel.  The  Hall  of  Barocclo,  beyond,  contains  numar- 
ous  good  pictures  of  the  17th  and  i8th  centuries,  among 
which  you  may  note  fine  works  by  Bronzino,  Rubens,  Guido, 
Velasquez,  etc.,  outside  the  range  of  this  Guide.  At  the  end 
of  the  Corridor  are  three  rooms  containing  a  magnificent 
Collection  of  Drawings  by  the  great  artists.  Students  of 
Morelli  will  know  how  to  value  these — but  I  do  not  presume 
to  write  for  students  of  Morelli. 

B.  Sculpture. 

[The  Sculpture  in  the  Uffizi,  being  almost  entirely  classi- 
cal in  origin,  forays  a  subject  of  special  study,  outside  the 


[YL 

of  the  Primavera 
the  R,  a  draped 
pares  to  throw  a 
All  the  figures 
>  peculiar  fiowing 
ore  for  hours.  It 
gan  side  of  this 
im  is  superficial : 
iming,  are  every- 


,  though  in  many 
1  for  explanation, 
long  the  Corridor, 
'hat  pass  for  such), 
tances  of  doubly 
lot  always  certain 
ists  whose  names 
e  person  they  are 
It  (with  this  need- 
L'ranach,  Holbein 
itian,  and  Rubens, 
s  the  charming  if 
iliar  from  copies  ; 
ann,  Ingres,  Jules 
es,  Leighton,  and 
,  contains  numar- 
renturies,  among 
o,  Rubens,  Guido, 
uide.  At  the  end 
ng  a  magnificent 
lists.  Students  of 
I  do  not  presume 


)st  entirely  classi- 
study,  outside  the 


VI.] 


THE   VFFIZI,    ETC 


17 


author's  sphere,  and  scarcely  poss'ble  of  treatment  within  the 
narrow  limits  which  can  be  given  lo  it  in  this  Guide.  Those 
who  wish  to  pursue  it  seriously  should  read  the  different 
questions  up  in  Gardner's  Handbook  or  Murray's  History  of 
Sculpture,  or  else  in  Liibke  or  Furtwangler.  Moreover, 
most  of  the  antiques  in  the  Uffizi  wete  freely  restored  and 
even  rudely  modernised  during  the  i6th  and  17th  centuries, 
before  the  sanctity  of  an  ancient  work  was  thoroughly  re- 
cognised. Many  of  them  have,  therefore,  modem  heads  and 
arms.  Others  are  provided  with  antique  heads,  which, 
however,  do  not  always  belong  to  them,  violence  having  been 
done  to  neck  and  torso  in  order  to  effect  an  apparently 
natural  junction.  In  origin,  most  of  'he  statues  and  busts 
are  Roman,  or  were  found  at  Rome  :  they  were  brought  here 
from  the  Villa  Medici  on  the  Pincian  Hill  by  Leopoldo  de' 
Medici  in  1779.  They  have  thus  no  organic  connection  with 
Florence.  Nevertheless,  I  give  a  brief  and  quite  un- 
authoritative account  here  of  the  most  important  wcrks, 
leaving  the  reader  to  follow  up  the  subject  if  he  will  in  more 
specialist  treatises.  A  good  little  book  on  plastic  art  in 
general  is  Marquand  and  Frothingham's  History  of 
Sculpture^ 

Staircase,  last  landing :  L,  Silenus  with  the  infant  Bacchus, 
in  bronze,  a  Renaissance  copy  of  ti»e  antique  original  at  the 
Villa  Pinciana  at  Rome.  The  same  subject  in  marble  exists 
in  the  Louvre.  R,  Bronze  statue  of  Mars.  Round  them, 
portrait  busts  of  the  Medici,  Apollo,  etc. 

Entrance  landing,  18,  horse,  rearing,  supposed  to  belong 
to  the  group  of  Niobe  (see  later.)  24,  25,  Two  Molossian 
dogs.  19,  A  celebrated  *Boar,  of  Greek  workmanship,  one 
of  the  finest  specimens  of  antiqu*^  animal  sculpture.  There 
is  a  good  bronze  copy  by  Pietro  Tacca  in  the  Mercato  Nuovo. 
Behind  it,  and  opposite,  triumphal  pillars.  In  the  niches, 
Hadrian,  Trajan,  Augustus,  and  other  Roman  portrait 
statues. 

Enter  the 

Long;  Corridor,   and  turn  to  the  R.    At  the  end,  38, 

M 


■RJ 


178 


FLORENCE 


[VI. 


Hercules  and  the  Centaur  Nessus.  Almost  the  entire  figure 
of  the  Hercules  is  of  Renaissance  workmanship.  So  are  the 
head  and  arms  of  the  Centaur  (restored  by  Giovanni  da 
Bologna.)  The  antique  portion,  however,  is  of  very  fine 
workmanship. 

L  wall :  39,  *Fine  Roman  sarcophagrus,  representing  the 
life  of  the  person  whose  body  it  contained,  from  infancy  to 
old  age.  I  give  some  account  of  the  reliefs,  as  a  specimen. 
(If  the  subject  interests  you,  follow  up  the  other  sarcophagi 
with  the  official  guide.)  Rend,  l  portion.  Birth  of  the 
Subject,  represented  as  a  child,  with  his  mother  and  nurse. 
R  portion,  his  Education;  he  reads  a  book  with  his  tutor, 
while  above  are  the  Muses,  —the  tragic  muse,  as  representing 
poetry  ;  another,  holding  a  scroll,  for  history  ;  and  a  third, 
Urania,  with  globe  and  compasses,  for  mathematics  and 
astronomy.  (The  official  catalogue  refers  the  last,  I  think, 
less  justly,  to  the  tracing  of  the  Subject's  horoscope.)  Pace 
of  the  sarcophagus  :  K  his  Marriage,  Hymen  holding  the 
torch,  and  Juno  bringing  husband  and  wife  toget'ier.  (The 
features  of  the  bride  would  lead  one  to  suppose  that  he 
married  his  grandmother,  unless  this  figure  is  rather  to  be 
recognised  as  the  bride's  mother,  with  the  bride  to  the  R 
behind  her,  which  the  ^-eil  n  akes  improbable.)  The  arrange- 
ment Iiighly  foreshadows  the  mediaeval  Sposalizio.  Centre, 
the  Hero,  whose  features  have  now  the  character  of  a  por- 
trait, offers  a  sacrifice  before  setting  out  on  a  warlike  ex- 
pedition ;  he  is  throwing  incense  on  an  altar,  while  an  atten- 
dant smites  a  bull,  and  a  boy  plays  a  double  flute  beside 
him.  In  the  background,  a  temple.  L,  as  Conqueror,  in  a 
military  cloak,  attended  by  Victory  with  a  palm,  he  shows 
mercy  to  the  women  and  children  of  the  vanquished.  L  end, 
he  is  represented  Hunting,  and,  further  to  the  L,  as  in  Re- 
tirement in  Old  Age,  now  a  bearded  man,  seated  on  a 
magisterial  chair,  while  attendants  remove  his  greaves  and 
the  rest  of  hi  >  a;  "-lovr,  signifying  a  return  from  military  to 
civic  life.  The  win.  design  is  very  spirited.  The  running 
together  of  the  separate  scenes,  without  formal  dividing  lines, 
is  highly  characteristic  of  antique  reliefs. 


^RS 


pppi 


[VI. 

t  the  entire  figure 
ship.  So  are  the 
by  Giovanni  da 
r,  is  of  very  fine 

,  representing  the 
,  from  infancy  to 
fs,  as  a  specimen, 
other  sarcophagi 
ion,  Birth  of  the 
nother  and  nurse, 
k  with  his  tutor, 
e,  as  representing 
iry  ;  and  a  third, 
mathematics  and 
the  last,  I  think 
oroscope.)  Face 
men  holding  the 
5  toget'ier.  (The 
suppose  that  he 
a  is  rather  to  be 
e  bride  to  the  R 
e.)  The  arrange- 
)osalizio.  Centre, 
aracter  of  a  por- 
on  a  warlike  ex- 
ir,  while  an  atten- 
luble  flute  beside 
s  Conqueror,  in  a 
1  palm,  he  shows 
iquished.  L  end, 
the  L,  as  in  Re- 
lan,  seated  on  a 
;  his  greaves  and 
from  military  to 
sd.  The  running 
mal  dividing  lines, 


VI.] 


THE   UFFIZI,    ETC 


179 


R  wall,  opposite,  busts  of,  45,  Julius  and,  *47,  Augustus  : 
several  others  about.  Compare  them  for  age  and  evolution 
of  features. 

L  v/all,  R  and  L  of  door,  two  more  busts  of  Augustus. 
Note  the  features. 

R  wall,  44,  statue  of  Attis,  erroneously  restored  as  a  bar- 
baric king.     Head  modern.    37,  Pcmpeius. 

L  wall,  R  and  L  of  door,  46  *Fine  bust  of  Livia,  wife  of 
Tiberius.  48,  ♦*Marcus  Agrippa,  builder  of  the  Pantheon, 
with  powerful  icserved  Etruscan  features.  52,  Athlete.  Be- 
side it,  51,  Pan  and  Olympus,  the  latter  modern.  Then,  R 
and  L,  busts,  of  which  (>■>  is  a  charming  boy  ♦BrJtannicus, 
56,  Sarcophagus  with  L,  Phaedra  and  Hippolytus :  R,  Hip- 
polytus  hunting  the  boar  ;  in  two  compartments.  L,  59,  Ath- 
lete, with  vase.  R,  58,  A  wingless  Victory,  with  palm  and 
wreath.  R,  62,  Sarcophagus,  with  the  Rape  of  the  Leucip- 
pidse  by  Castor  and  Pollux. 

The  busts  which  succeed  are  sufficiently  named  on  the 
pedestals  for  the  passing  visitor.  L,  67,  Athlete  :  note  the 
numerous  variants.  R,  66,  Faun,  wrongly  restored  as  a 
Bacchus.  Beyond  it,  68,  sarcophagus  with  the  Labours  of 
Hercules  on  the  face,  the  Nemean  lion,  hydra,  boar,  stag, 
Augean  stables,  etc.  Notice  R,  77,  the  foppish  head  of 
*Otho,  with  his  frizzed  wig,  a  fine  piece  of  handicraft.  L, 
good  busts  of  Nero,  Caligula,  and  Galba.  R  and  L,  74,  and 
75,  Pomona  and  an  Athlete.  (Notice  replicas.)  L,  78,  Sarco- 
phagus with  Tritons  and  Nereids,  accompanied  by  Cupids. 
In  85  and  others,  curious  Roman  head-dresses.  No.  71  is  a 
charming  baby  Nero.  8i  and  82,  Urania  and  Ariadne. 
Note  as  we  pass  here  from  the  Julian  and  Claudian  Caesars 
to  the  later  Emperors  the  sudden  loss  of  aristocratic  dignity, 
now  replaced  by  the  coarse  and  vulgar  features  of  Vitellius, 
or  the  mere  bourgeois  capacity  of  ♦Vespasian.  Even  Titus, 
though  better,  has  not  the  fine  type  of  the  patrician  Em- 
perors. 

R,  88,  Ganymede  with  the  eagle :  contrast  later  at  the 
Bargello  with  Cellini.  90,  Vestal,  in  the  act  of  throiving 
incense  :  a  nobly  modest  figure.   95,  Sarcophagus  represent- 


$ 


Baoai 


tms 


i8o 


FLORENCE 


ing  the  Calydonian  boar,  with  the  huntress  Atalanta  :  heads 
mostly  modern.  This  boar  should  be  compared  with  the 
one  on  the  staircase.  The  story  '  5  confused  :  read  up  in  any 
book  of  reference  under  head,  Meleager.  Near  the  door  of 
theTribuna,  much  restored  Muse,  and  good  Hercules  resting 
on  his  club  R  and  L  of  the  door,  two  i'^ges  in  the  evolu- 
tion of  *Trajan. 

Entci    the   Trlbuna,    which  contains   five  celebrated 

8t/ttue«,  originally  selected  as  tht  finest  of  the  collection. 
Ai  with  the  pictures,  however,  the  choice  reflects  rather  the 
ti  ste  of  the  begin  ng  of  this  century  than  that  of  its  end. 
Ti  ese  works  are  not  in  themselves  of  the  first  aesthetic  im- 
poi  ranee,  and  many  of  them  have  been  restored  out  of  all 
recognition.  Their  vogue  belonged  to  a  day  before  the  dis- 
covey  of  the  frrosi  Orcfik  originals,  (i)  *Satyr  playing  on 
Mie  cj  mbal,  and  pressing  the  krupezion  with  his  feet.  Only 
♦Ke  torso  is  antique.  The  clever  head  and  face,  the  arms, 
and  part  of  the  feet  were  restored  by  a  Renaissance  sculptor, 
probably  Michael  Angelo.  The  expression  is  entirely  that 
of  Renaissance  Italy,  not  of  classical  sculpture.  The  original 
has  been  doubtfully  referred  to  the  School  of  Praxiteles.  (2) 
♦The  Wrestlers,  believed  to  be  a  work  of  the  School  of  Poly- 
cleitus.  The  heads,  though  probably  antique,  belong  to 
other  statues  (of  the  School  of  Scopas,)  and  resemble  those 
of  the  Children  of  Niobe.  They  are  without  expression,  and 
their  placidity  is  wholly  out  of  accord  with  th.  action  of  the 
vigorous  struggling  bodies.  Many  parts  of  the  limbs  are 
modem,  and  have  not  been  correctly  restored  in  every  in- 
stance. (3)  *The  famous  and  over-rated  Medici  Venus, 
found  in  Hadrian's  Villa  at  Tivoli  in  16S0.  The  unpleasing 
pose  of  the  L  hand  and  of  the  R  arm  is  due  to  the  restorer. 
An  inscription  on  the  base  (modem,  but  said  to  reproduce 
the  original  one)  gives  the  authorship  to  one  Cleomenes,  of 
Athens.  A  sculptor  of  that  name  worked  at  Rome  in  the 
age  of  Augustus.  (4)  *T'ie  so-called  Arrotino,  a  Scythian 
grinding  his  knife  to  flay  Marsyas.  The  subject  has  bcur  dis- 
covered by  means  of  bas-reliefs  and  medals.   ^5)  * Thu  young 


"«sa«S3i^i^^f»lpi 


Bin 


i^Mmmesmis^e^ 


[VI. 

Atalanta  :  heads 
mpared  with  the 
[ :  read  up  in  any 
Near  the  door  of 
i  Hercules  resting 
iges  in  the  evolu- 


tive celebrated 

of  the  collection, 
reflects  rather  the 
n  that  of  its  end. 

first  aesthetic  im- 
eatored  out  of  all 
lay  before  the  dis- 
*Satyr  playing  on 
th  his  feet.  Only 
id  face,  the  arms, 
laissance  sculptor, 
an  is  entirely  that 
ture.    The  original 

of  Praxiteles.  (2) 
he  School  of  Poly- 
intique,  belong  to 
nd  resemble  those 
)ut  expression,  and 
h  th.  action  of  the 

of  the  limbs  are 
stored  in  every  in- 
id  Medici  Venus, 
).  The  unpleasing 
lue  to  tb«;  restorer. 

said  to  reproduce 
one  Cleomenes,  of 
id  at  Rome  in  the 
rrotino,  a  Scythian 
ubject  has  bear  dis- 
Is.   (,5)  ♦The,  young 


VI.] 


THE   UFFIZJ,    ETC 


i8l 


Apollo,  said  to  be  wholly  antique.  It  is  probably  a  copy 
from  an  original  by  Praxiteles,  and  is  supposed  to  be  the 
handicraft  of  the  same  sculptor  as  the  Medici  Venus. 

Return  to  the  Long  Corridor.  L,  Another  Sarcophagus 
with  the  labours«f  Hercules.  Compare  with  the  previous 
one.  R  and  L,  Polyhymnia  and  a  Mercury.  Beside  the  latter, 
two  stages  in  the  evoIutioi>  of  Hadrian.  R,  103,  pleasing 
bust  of  Plotina,  wife  of  Trajan.  L,  1 10,  Bacchanalian  scene 
(Triumph  of  Bacchus.)  The  god,  to  the  L,  is  drawn  by  a 
male  and  female  centaur.  In  front,  Ariadne  is  similarly 
drawn  by  panthers.  Chained  slaves  precede  them  :  moer.'ads 
and  fauns  accompany.  R,  112,  Venus  and  Cupid.  L,  113, 
Venus,  compare  in  attitude  with  the  Medici.  Beyond  it.  Sar- 
cophagus with  Cupids,  and  another  with  Triton  and  Nereids. 
At  the  end,  R  and  L,  two  ApoUos. 

Short  Corridor.  Charming  little  Cupids,  of  which  123 
is  very  pleasing.  L,  Bacchante,  with  a  panther.  Centre, 
*36,  seated  Roman  portrait  statue.  Beyond,  R  and  L,  por- 
trait busts  of  the  Antonine  period,  betraying  the  faint  be- 
ginnings of  the  Decadence.  133,  Minerva,  somewhat  rigid 
in  attitude :  archaic  or  archaistic.  L,  138,  the  famous 
♦Thorn-extractor,  a  graceful  statue  of  a  boy  athlete  :  one  of 
many  copies. 

In  136,  etc.,  the  various  stages  of  Marcus  Aurelius,  the 
philosopher  emperor,  are  interestingly  indicated. 

141,  Beautiful  candelabrum.  129,  Sarcophagus  with 
Phaethon  failing  into  the  Eridanus,  represented  by  a  river- 
god  :  close  by,  his  sisters  metamorphosed  into  poplars. 
MS.  Venus  stooping  at  the  bath,  a  graceful  small  statue, 
like  the  famous  one  in  the  Vatican.  The  head  is  modern. 
L,  2,  Mars,  in  basalt.  Opposite,  13^,  Venus  with  the  sword. 
35.  **Magnificent  seated  portrait  statue  of  a  Roman  lady, 
known  as  Agrippina.    The  pose  and  draperies  are  admirable. 

Second  Long  Corridor.  Busts  of  Emperors  of  the  De- 
cadence, continuously  losing  both  in  character  and  crafts- 
manship. 15s,  and  156,  Marsyas,  the  first  restored  by 
Donatello.  R,  162,  Nereid  on  a  sea-horse.  R,  169,  Disco- 
bolus, probably  a  copy  of  the  famous  work  of  Myron. 


'*)»• 

'^^ 


% 


mm 


183 


FLORENCE 


[n. 


In  the  room  to  the  L,  Hail  of  Painters,  is  a  fine  ^tiqwe 
marble  vase  of  Greek  workmanship,  known  as  the  Medici 
vase,  and  with  admirable  reliefs  of  the  Sacrifice  of  I  phi- 
geneia,  who  may  be  seen  prostrate  below  the  statue  of 
Artemis  on  the  side  next  the  windows. 

The  next  door  to  the  L  leads  t  the  Hall  of  the  inscrip- 
tions, with  numerous  works  of  sculpture,  many  of  them  of 
inferior  mterest,  but  containing  some  masterpieces.  R  of 
the  door  is  a  pleasing  *V'eniJs  Genetrix,  covered  with  a 
light  Coan  robe.  L,  *A  priestess,  with  exquisite  drapery. 
On  altars  to  R  and  L,  Venus  Urania  and  ♦Mercury,  the  last 
very  fine.  In  the  centre,  on  an  Egyptian  base,  *Bacchus 
and  Ampelus,  a  beautiful  g.ci-;-.  Round  the  walls,  inscrip- 
tions and  reliefs,  intererting  mostly  to  the  scholar.  Near 
the  entrance  into  the  next  room,  283,  figure  with  oriental 
tinge,  perhaps  an  Attis. 

The  room  beyond,  Hall  of  the  Hermaphrodite,  has, 
318,  a  colossal  head  known  as  the  *Dying  Alexander, — in 
reality,  a  giant  of  the  Pergamenian  school.  Round  the  walls 
are  a  series  of  **fine  reliefs  of  the  Augustan  period,  from 
the  altar  of  the  Augustan  Peace,  erected  by  the  great  em- 
peror in  A.D.  12,  on  his  final  pacification  of  the  Empire.  They 
are  sufficiently  explained  by  their  labels.  These  noble  and 
graceful  works  exhibit  the  simple  idealism  of  the  age  of 
Augustus.  The  one  which  represents  the  members  of  the 
Claudian  family  is  particularly  beautiful.  In  the  centre  of 
the  room,  306,  repetition  of  the  favourite  statue  of  the  Her- 
maphrodite, the  low  portion  modern.  290,  Seated  statue 
of  Ceres.  316,  An  A  *inous,  net  one  of  the  most  pleasing 
representations  of  the  subject.  308,  Ganymede,  so  restored 
by  Benvenuto  Cellini  as  to  be  practically  his  own  work.  It 
would  be  beside  my  purpose  to  enter  more  fully  into  the 
contents  of  these  rooms,  but  many  of  the  sculptures  (such 
as  the  superb  head  of  Seneca  or  the  colossal  torso  of  a  faun) 
descr'e  thorough  examination  at  the  hands  of  those  who 
desire  to  understand  classical  sculpture. 

Lon<t  Corridor,  again.  186,  Wounded  soldier,  of  the 
Pergai  lenian  school. 


[VI. 

is  a  fine  antique 
'H  as  the  Medici 
Sacrifice  of  Iphi- 
iw  the  statue  of 

of  the  InAcHp' 

many  of  them  of 
sterpieces.  R  of 
,  covered  with  a 
ixquisite  drapery. 
Mercury,  the  last 
I  base,  *Bacchus 
he  walls,  inscrip- 
e  scholar.  Near 
ure  with  oriental 

laphrodite,  has, 
g  Alexander, — in 

Round  the  walls 
Stan  period,  from 
jy  the  great  em- 
:»e  Empire.  They 
These  noble  and 
;m  of  the  age  of 

members  of  the 
In  the  centre  of 
tatue  of  the  Her- 
90,  Seated  statue 
he  most  pleasing 
mede,  so  restored 
lis  own  work.  It 
ore  fully  into  the 

sculptures  (such 
xl  torse  of  a  faun) 
ads  of  those  who 

d  soldier,  of  the 


VI.] 


rHE    UFFIZI^    ETC 


183 


The  Hall  of  Niobe,  to  the  i.,  further  on,  contffins  seven- 
teen groups  or  single  figures  of  **Niobe  and  her  children, 
struck  by  the  a;rows  of  Artemis  (some  of  them  duplicates). 
These  are  believed  to  l>e  good  Roman  copies  from  the  Greek 
originals  of  the  School  of  Scopas.  The  faces  and  figures  of 
all  should  be  compared  with  those  of  the  Melian  Aphrodite, 
(Venus  of  Milo,)  in  the  l.cuvre.  They  seem  to  have  origin- 
ally occupied  the  pediment  of  a  temple,  with  the  large 
standing  figure  of  Niobe  herself  in  the  centre  (placed  here 
at  the  R  hand  end  of  the  hall).  The  figure  opposite  is  sup- 
posed to  be  that  of  their  tutor  or  pedagogue.  The  other 
figures  declined  gradually  m  height  from  the  centre  1  either 
side,  and  ended  in  prostrate  forms,  like  the  one  oppo:  iw."  the 
middle  window. 

Long  Corridor  again.  More  portrait  busts  of  the  Deca- 
dence. Several  good  Romr.n  altars  with  inscriptions,  inferior 
statues,  etc.  Near  the  enii,  236,  fine  aacrificial  aUar  of  the 
age  of  Augustus,  dedicat  'd  to  his  Lares,  with  the  date  in- 
scribed by  means  of  the  consular  years — 13th  of  Augustus^ 
1st  of  M.  Plautus  Silvanus.  At  the  end,  altered  copy  of  the 
Laocoon,  an  antique  in  the  Vatican  at  Rome,  of  the  Rho- 
dian  School :  this  variant  is  by  Baccio  Bandinelli,  who 
considered  that  he  had  improved  upon  the  original.  Later 
critics  ha^e  not  endorsed  his  opinion.  But  the  original 
itself  belongs  to  a  late  School  of  Greek  sculpture  which 
sacrificed  plastic  repose  to  violent  action  and  dramatic 
movement. 


L 


1 


VII 


THE  PITTI   PALACE 

f'T^HIRD  in  importance  among  the  collections  of 
L  ±.  Florence  must  be  reckoned  that  of  the  PIttI 
Palace.  Indeed,  it  is  probable  that  most  people  would 
even  now  regard  it  as  first,  or  at  least  second,  in  rank,  owing 
to  the  large  number  of  masterpieces  of  the  High  Renaissance 
which  it  contains  ;  but  its  comparative  poverty  in  works  of 
the  increasingly  popular  msusters  of  the  Early  Renaissance 
will  doubtless  make  U  take  a  less  exalted  place  in  the 
estimation  of  the  coming  generation. 

The  Palazzo  in  which  it  is  housed  is  itself  historical. 
Designed  by  Brunelleschi,  the  architect  of  the  Cathedral 
dome,  it  was  begu.i  about  1440  for  Luca  Plttl,  the  head  of 
the  great  house  who  formed  at  thai  date  the  chief  rivals  of 
the  Medici.  Luca  conspired,  however,  in  1466  ag  'nst 
Piero  de'  Medici  (son  of  Cosimo  Pater  Patriae  and  father  of 
Lorenzo  :)  and,  his  conspiracy  failing,  the  building  remained 
unfinished  till  1549.  It  th'.in  came  into  the  hands  of  the 
Medici ;  and  Cosimo  I.,  completing  the  central  block,  made 
it  thenceforth  his  principal  residence.  It  has  ever  since 
ranked  as  the  chief  Grand  Ducal  and  Royal  Palace  in 
Florence.  The  existing  building  includes  several  additions 
to  Brunelleschi's  design,  which  will  be  pointed  out  as  you 
stand  before  it.] 

Cross  the  picturesque  Ponte  Vecchio,  with  its  jewellers' 
shops,  topped  by  the  connecting  passage  from  the  Uffizi, 
and  continue  along  the  straight  street  in  front  till  you  come 
on  the  L  to  a  huge  prison-like  building,  which  crowns  a 
slight  eminence.    That  is  the  Plttl  Palace.    At  first  sights 

IM 


i^wg^i'Wft).  '  ww»yM'JW»MiwiMiJli;«iw.i.w.lMirtteiWilttM'feW><k9 


T^fSSssa. 


1 


mm 


VII.] 


THE  PITTI  PALACE 


185 


collections  of 
t    of   the    Pitti 

it  people  would 
1,  in  rank,  owing 
igh  Renaissance 
erty  in  worlcs  of 
irly  Renaissance 
(i  place  in  the 

itself  historical. 
i  the  Cathedral 
Itti,  the  head  of 
le  chief  rivals  of 
in  1466  ag  'nst 
riae  and  father  of 
lilding  remained 
he  hands  of  the 
itral  block,  made 

has  ever  since 
[loyal  Palace  in 
several  additions 
nted  out  as  you 


^ith  its  jewellers' 
from  the  Uffizi, 

jnt  till  you  come 
which  crowns  a 

.    At  first  sights 


you  will  probably  find  it  just  sombre  and  repulsive  ;  after 
many  visits,  its  massive  masonry,  ts  dignified  architecture, 
its  fine  proportions  will  slowly  grow  upon  you.  The  central 
portion  alone,  in  three  stories,  represents  Urunelleschi's 
work  ;  notice  the  huge  blocks  of  which  it  is  built,  true 
Etruscan  in  their  solidity,  only  worked  at  the  edge  so  as  to 
give  nn  increased  effect  of  vastness  and  ruggedness.  Origin- 
ally, as  in  most  other  castle-like  Florentine  palaces,  there 
were  no  windows  at  all  on  the  ground  floor  (save  the  little 
square  openings  above  :)  and  K\ik  facade  must  then  have 
looked  even  gloomier  than  now ;  but  under  the  Medici 
Grand  Dukes,  Bartoiommeo  Ammanati  boldly  introduced 
the  round-arched  windows  below, — a  feat  which  would  seem 
almost  impossible  in  so  solid  a  building  without  endangering 
the  stability  of  the  entire  superstructure.  The  wings  in 
line  with  the  centre  were  added  in  the  17th  century  ;  those 
at  an  angle  to  it,  running  out  towards  the  street,  not  till  the 
1 8th. 

The  entrance  to  the  Picture  Gallery  is  in  the  wing  to 
the  I.,  through  an  unimposing  doorway.  Umbrellas  and 
sticks  must  be  left  below.  Open  daily,  one  franc  ,  free  on 
Sundays. 

Mount  the  shabby  stairs,  and  pass  through  the  still 
shabbier  gallery  passage  into  the  too  magnificent  and 
gorgeously  decorated  suite  of  apartments. 

We  enter  first  the  -^ 

Hall  of  the  Iliad. 
(The  names  written  over  the  doors  are  those  of  the  next 
rooms,  to  which  they  give  access).     Here,  more  even  than 
elsewhere,  recollect    that  I   do  not  pretend    to    dispense 
critical  opinions. 

L  of  the  door,  as  you  enter,  236,  Bassano.  Christ  in  the 
house  of  Mary  and  Martha  :  Lazarus  carving.  In  this  late 
Venetian  picture,  painted  in  the  High  Renaissance  style, 
we  have  still  a  faint  reminiscence  of  the  traditional  gesture 
of  Martha,  shown  long  before  in  the  Giovanni  da  Milano  at 
Santa  Croce.  Otherwise,  the  picture  is  just  a  Venetian 
domestic  interior  of  its  date,  largely  painted  for  the  sake  of 


1 


.  ^*«*Mk*'">K-«!(W;i*ilji-»Maflt4«i!*>jvi*V*»ari-fei'*- 


tl 


I 


-^,^;OT!*««s«Sa.*S5SSWMtt^^ 


w 


I 


%. 


^. 


^\^.  ^^a?^ 


IMAGE  EVALUATION 
TEST  TARGET  (MT-3) 


1.0 


I.I 


■^  1^    IIIII2.2 

'^  lis  lllllio 


1.8 


1.25      1.4      1.6 

■• 6"     

► 

Hiotographic 

Sciences 
Corpomtion 


•^ 


^ 


-u 


4s 


\ 


o 


<v 


^ 


^'h 


23  WEST  MAIN  STREET 

WEBSTER,  N.Y.  14580 

(716)  872-4503 


r^tJ,^....-ia<-»^OK.-€ff--?--;^-«tC";f»[>?J1i^'Ft«»^^ 


v'.'^'*"«rfe>W*-^  v*j;fti'^v- 


-j-.v:^.>i':74.4/-Tl%13H  - 


4- 


k 


CIHM/ICMH 

Microfiche 

Series. 


CIHIVI/ICMH 
Collection  de 
m 


Canadian  Institute  for  Historical  Microreproductions  /  institut  Canadian  de  microreproductions  hittorlques 


K^im 


i86 


FLORENCE 


[VII. 


its  buxom  fair-haired  Magdalen  and  its  picturesque  acces- 
sories.   Observe  the  transformed  cruciform  halo. 

Above  it,  *23S,  Excellent  Holy  Family  l>y  Rubens, 
(probably  a  copy.)  Of  course  frankly  Flemish  and  i6th 
century.  Note  how  the  infant  St.  John  of  Florence  with  his 
lamb  is  now  transferred  to  northern  art  through  the  influence 
of  Raphael. 

232,  by  Sustermans,  cills  itself  a  Holy  Family.  In 
reality,  good  portraits  of  uninteresting  contemporaries. 

233.  Pontormo's  St.  Antony  is  equally  transformed  from 
his  earlier  type. 

Over  the  door,  affected,  long-necked  Madonna,  with 
sprawling  Child,  by  Parmigianino. 

Beyond  the  door,  *229,  good  portrait  of  a  lady  in  a  red 
dress  with  green  sleeves,  known  as  La  Gravida,  and 
ascribed  to  Raphael.  Above  it,  228,  half-length  of  Christ, 
by  Titian,  of  his  early  period. 

225,  *Andrea  del  Sarto's  Assumption  is  a  noble  example 
of  his  beautiful  colouring.  The  Madonna  in  clouds,  above, 
in  a  fine  luminous  glory,  with  her  ring  of  baby  angels,  is  a 
charming  portrait  of  the  artist's  wife,  Lucrezia,  whom  you 
will  meet  again  in  this  Gallery.  Below,  the  Apostles  look 
up  in  wonder  :  one  gazes  into  thfc  empty  sarcophagus  :  there 
are  just  twelve  of  them.  Conspicuous  among  them  is  St. 
Thomas,  in  a  red  and  blue  costume,  by  the  steps  of  the 
sepulchre,  holding  up  his  hands  with  some  surviving  remi- 
niscence of  his  earlier  position,  as  if  in  expectation  of  the 
Sacra  Cintola.  (See  the  reliefs  in  the  Cathedral  and  in  Or 
San  Michele,  and  the  pictures  in  the  Uffizi  and  Belle  Arti.) 
In  the  foreground  kneel  two  later  spectator  saints,— Nicolas 
of  Bari,  with  his  golden  balls,  and  St.  Margaret  of  Cortona, 
(whence  it  comes),  the  Franciscan.  Such  a  picture  as  this 
can  only  fully  be  understood  by  the  light  cast  by  earlier 
paintings. 

Beyond  again,  224,  223,  222,  three  good  portraits  by 
Ridolfo  Ghirlandajo  ;  a  Flemish  artist,  (perhaps  Quintin 
Matsys  ;)  and  Bonifacio. 

Over  the  next  door,  a  Christ  in  a  glory,  with  saints,  by 


-'.l-,^JjU''ir.'J''!l!Jf-yi^'-'-"- " '• 


[VII. 

picturesque  acces- 
m  halo. 

mily  i>y  Rubens, 
Flemish  and  i6th 
"  Florence  with  his 
rough  the  influence 

loly  Family.      In 

^temporaries. 

'  transformed  from 

1    Madonna,    with 

if  a  lady  in  a  red 
La  Gravida,  and 
f-length  of  Christ, 

is  a  noble  example 
la  in  clouds,  above, 
if  baby  angels,  is  a 
ucrezia,  whom  you 
the  Apostles  look 
iarcophagus :  there 
imong  them  is  St. 
y  the  steps  of  the 
ne  surviving  remi- 
expectation  of  the 
ithedral  and  in  Or 
izi  and  Belle  Arti.) 
or  saints, — Nicolas 
irgaret  of  Cortona, 
:h  a  picture  as  this 
;ht  cast  by  earlier 

good  portraits  by 
(perhaps  Quintin 

)ry,  with  saints,  by 


Vll.] 


!',u!fflij(jii.MiiiMiiJ^iiiJiaiiiiij^iigiiM!iiiuyajiP4'«!aTO 


THE  PITTI  PALACE 


187 


Annibale  Carracci.  Very  characteristic  of  this  painter's 
composite  manner.  There  are  touches  in  it  of  Correggio 
and  of  many  others. 

219.  Perugino,  Madonna  adoring  the  Child.  A  beautiful 
pictuf". 

216.  *Paolo  Veronese,  Portrait  of  Daniele  Barbaro. 

End  wall,  Several  good  portraits  by  Paolo  Veronese, 
Titian,  and  ethers.  In  214,  Baroccio,  (a  copy  from  Cor- 
reggio :)  observe  the  complete  transformation  of  the  earlier 
conceptions  of  the  Madonna  and  Child,  St.  Jerome  and 
St.  Catherine,  and  adoring  angels.  212,  Good  portrait  of 
Cosimo  I.  by  Bronzino. 

2o8.*  Fra  Bartolommeo.  A  splendid  and  unusually 
pleasing  c.':ainple  of  his  Enthroned  Madonnas,  with  saints 
and  angels.  Our  Lady  sits  under  a  canopy,  most  charac- 
teristic of  this  painter.  The  child  Christ  is  placing  a  ring 
on  the  finger  of  St.  Catherine  of  Siena.  To  the  L,  the  most 
conspicuous  figure  is  that  of  St.  George,  in  attitude  remini- 
scent of  Donatello  :  (often  called  St.  Michael,  but  he  bears  a 
martyr's  palm.)  To  the  R,  stands  the  painter's  namesake, 
St.  Bartholomew,  with  his  knife.  Among  the  other  saints, 
one  can  vaguely  recognise  Dominic  with  his  lily,  St.  Thomas 
Aquinas,  and  perhaps  Santa  Reparata  of  Florence,  in  red 
and  green.  The  angels  in  the  foreground  are  highly 
characteristic.  So  is  the  distribution  of  light  and  shade, 
and  the  varied  composition. 

207.  *Fine  portrait  of  a  goldsmith,  by  Ridolfo  Ghir- 
landajo,  formerly  attributed  to  Leonardo — of  whom  it  is 
quite  worthy. 

Over  the  door,  202,  Biliverti.  The  angel  receiving  the 
gifts  of  Tobias  and  Tobit.  Is  chiefly  interesting  as  exhibit- 
ing the  later  theatrical  manner. 

201.  **Titian's  noble  portrait  of  Cardinal  Ippolito  de' 
Medici,  in  Hungarian  military  costume,  after  his  campaign 
against  the  Turks.    A  study  in  red. 

Above  it,  200,  copy  (or  replica  ?)  of  a  portrait  by  Titian  of 
Philip  II  of  Spain. 

R  wall,  199.    Granacci.    Madonna  and  Child,  with  infant 


'mrnmammmmimmmmm. 


i88 


FLORENCE 


[VII. 


St.  John.  A  good  example  of  the  later  development  of  this 
Florentine  subject. 

Above  it,  198,  portt^it  by  Velasquez.  Over  tlie  door,  196, 
Paolo  Veronese,  St.  Benedict  and  saints.  195,  Giacomo 
Francia,  portrait  of  a  man,  admirable  in  its  simple  severity 
and  excellent  painting. 

191.  Andrea  del  Sarto.  Another  Assumption  of  the 
Madonna,  unfinished,  closely  resembling  that  opposite,  and 
doubtless  ordered  on  the  strength  of  it.  The  two  should  be 
compared  together.  Note  the  similar  position  and  costume 
of  the  St.  Thomas,  with  his  foot  on  the  base  of  the  sarco- 
phagus. The  kneeling  saints  in  the  foreground  are,  how- 
ever, here  two  of  the  Apostles,  and  the  background  is 
different.  The  upward-straining  faces  of  the  spectators  are 
full  of  reality.  (One  of  the  kneeling  saints,  in  red  cloak  and 
blue  vest,  is  Andrea's  own  portrait,  in  the  character  of  St. 
Andrew.) 

190.  Sustermans.  Excellent  portrait  of  a  Prince  of  Den- 
mark. 

Over  the  door,  i86,  Paolo  Veronese.  Baptism  of  Christ. 
We  again  observe  the  Venetian  faces,  and  the  complete 
transformation  of  earlier  motives,  such  as  the  angel  with  the 
towel.  Recollect  what  Baptisms  used  to  be  in  the  14th 
century.  The  pretty  Venetian  in  the  rear  is  meant  for  St. 
Catherine. 

Near  the  window,  184,  Andrea  del  Sarto's  fine  portrait  of 
himself,  injured. 

185.  **Titian.  (Early  work,  attributed  to  Giorgione.) 
Musical  concert,  three  fine  portraits  of  men  playing  instru- 
ments, the  middle  one  full  of  character,  the  hands  and 
drapery  especially  admirabK  The  central  head  alone  re- 
tains mur!.  of  the  primitive  touch  ;  the  other  two  have  been 
repainted  'with  disastrous  effect  till  all  individuality  is  gone 
from  them. 

In  237,  by  Rosso  Rossi,  the  total  transformation  of  the 
traditional  St.  Sebastian  and  other  saints  is  very  note- 
worthy. Every  room  contains  many  fine  works  whith  I  do 
not  notice. 


pmms 


iMsimmm^sm^mmmmmmmia^ssiis&ms'! 


m 


[vn. 

evelopment  of  this 

Over  the  door,  196, 

ts.      195,  Giacomo 

its  simple  severity 

Assumption  of  the 
that  opposite,  and 
The  two  should  be 
sition  and  costume 
base  Oi  the  sarco- 
'eground  are,  how- 
he  background  is 
the  spectators  are 
:s,  in  red  cloak  and 
»e  character  of  St. 

f  a  Prince  of  Den- 
Baptism  of  Christ, 
and  the  complete 
the  angel  with  the 
to  be  in  the  14th 
ir  is  meant  for  St. 

to's  fine  portrait  of 

cd  to  Giorgione.) 
»en  playing  instru- 
!r,  the  hands  and 
al  head  alone  re- 
ler  two  have  been 
dividuality  is  gone 

isformation  of  the 
mts  is  very  note- 
works  whi1.11  !  uo 


l).Wi,giil|l'. 


<W.»UitWB!;'«'IM,-j!!WtfS'^'iyW:l!g^ 


VII.] 


THE  PITTI   PALACE 


189 


Enter  the  -       ' 

5ala  di  Saturno. 

R  of  the  door,  as  you  enter,  Pontormo,  the  Santi  Coronati 
(see  Mrs.  Jameson). 

Over  the  door,  **Sebastiano  del  Piombo.  The  martyr- 
dom of  St.  Agatha,  whose  breasts  are  just  being  seared  Ny 
the  executioners.  A  magnificent  treatment  of  the  nude, 
with  the  splendid  colour  of  this  Venetian  painter,  still  visible 
after  he  had  come  nder  the  influence  of  Michael  Angelo's 
style  of  drawing  and  composition.  Every  detail  of  this 
noble  work  is  worthy  of  close  attention,  in  spite  of  the  in- 
tense painfulness  of  the  subject.  Its  flesh  tints  are  splendid. 
The  St.  Agatha  is  Giorgionesque  :  but  the  executioners  are 
entirely  in  the  style  of  Michael  Angelo.  This  seems  to  me 
Sebastiano's  masterpiece.  It  was  painted  for  a  cardinal  of 
St.  Agatha. 

178.  **Raphael.  Madonna  del  Granduca,  of  his  early 
Florentine  period.  The  most  exquisite  picture  by  this 
master  in  Florence,  and  perhaps,  with  the  exception  of  the 
Sposalizio  at  Milan,  in  the  whole  world.  You  cannot  look 
too  long  at  it.  Simple,  pure,  and  beautiful ;  reminiscent  of 
Perugino,  whose  type  it  embodies,  but  clearer  in  colour, 
daintier,  softer.  It  has  even  a  touch  of  his  earliest  Urbino 
manner. 

■»*6iand*59.  Raphael.  Portraits  of  Angiolo  and  Mad- 
dalena  Doni,  also  of  his  early  Florentine  period.  61  must 
rank  among  his  finest  portraits.  It  is  full  of  thought  and 
earnestness.  The  hands,  hair,  and  expression  are  admir- 
able ;  they  recall  Francia.  In  59,  the  young  Umbrian 
painter,  coming  fresh  to  Florence  from  the  school  of  Peru- 
gino, shows  distinct  evidences  of  being  influenced  by 
Leonardo's  Mona  Lisa  (now  in  the  Louvre,)  especially  in 
the  face  and  the  painting  of  the  soft  and  luxurious  hands. 
These  two  portraits,  again,  you  cannot  look  at  too  carefully. 
Do  not  overlook  the  Umbrian  landscape. 

*I72,  Andrea  del  Sarto.  Group  of  saints,  absurdly  called 
the  Disputk  suUa  Trinitk.  To  the  R,  St.  Augustin  (holding 
a  crozier)  is  speaking  with  rapt  eloquence :  beside  him  mild 


.  .■j^5Ts*^-Ik'i^-^'^' 


mm 


190 


FLORENCE 


[vii. 


St.  Lawrence  listens  :  L,  St.  Francis,  then  St.  Peter  Martyr 
(or  Thomas  Aquinas?)  consulting  the  Scriptures:  in  the 
foreground,  kneeling,  are  St.  Sebastian  and  th<  Magdalen 
with  her  box  of  ointment.  Probably  a  plague  picture.  In 
the  background,  a  Trinity.  Admirable  both  as  a  bit  of 
colour,  and  as  an  example  of  the  way  Andrea  could  give 
life  to  these  chance  assemblages. 

*I74,  Raphael's  Vision  of  Ezekiel.  God  the  Father, 
enthroned  on  the  mystic  beasts  of  the  Evangelists,  and 
adored  by  the  angel  of  St.  Matthew.  This  work  is  full  of 
the  influence  of  Michael  Angelo. 

♦171.  Raphael's  portrait  of  Cardinal  Inghirami,  of  his 
Roman  period.  A  triumph  of  art  over  an  unpicturesque 
subject  with  a  bad  squint.  Raphael  has  succeeded  in  givir.g 
the  intellectual  and  powerful  character  of  the  face,  while  the 
statesmanlike  hands  are  rendered  in  the  most  masterful 
manner.    The  reds  are  marvellously  managed. 

165.  The  Madonna  del  Baldacchino,  attributed  to  Raphael, 
and  in  part  by  him  :  begun  in  Florence  before  he  went  to 
Rome,  and  left  unfinished.  The  composition  strongly  recalls 
Fra  Bartolommeo,  under  whose  influence  Raphael  was  then 
passing.  The  Child,  however,  is  extremely  Raphaelesque. 
The  Madonna  is  of  his  later  Florentine  manner.  The 
throne  is  in  the  style  of  the  Frate.  To  the  L  stand  St.  Peter 
with  the  keys,  and  St.  Bruno  (or  I  think  rather  St.  Bernard, 
reading,  as  when  Our  Lady  appeared  to  him.)  To  the  R, 
St.  James  with  his  staff,  and  St.  Augustin  with  the  De 
Civitate  Dei.  At  the  foot  of  the  throne  are  two  dainty  little 
angels,  very  like  Fra  Bartolommeo.  How  much  is  Raphael's 
own  is  uncertain.  The  flying  angels  at  least  were  added 
afterwards,  the  last  being  copied  from  Raphael's  own  fresco 
in  Santa  Maria  della  Pace  at  Rome.  Later  still,  one  Cassana 
glazed  it  over,  added  the  top  of  the  canopy,  and  gave  it  a 
false  finish.  The  Saint  Augustin  probably  belongs  to  the 
finisher. 

167,  Giulio  Romano,  Apollo  and  the  Muses,  dancing.  A 
feeble  work,  based  on  Mantegna's  group  in  the  Louvre,  and 
spoilt  in  the  stealing. 


s 


\ 

E 

P 

si 
cl 
n 

P 
J< 


m  •"^M  i-'igui;  w.g'"' J  b  '\  'imii*m^™sismi'mmsw^m^sm 


[VK. 


VII.] 


THE  PITT  I   PALACE 


191 


1  St.  Peter  Martyr 
Scriptures :  in  the 
ind  th<  Magdalen 
>lague  picture.  In 
!  both  as  a  bit  of 
\ndrea  could  give 

God  the  Father, 

Evangelists,  and 

his  work  ia  full  of 

Inghirami,  of  his 
an  unpicturesque 
icceeded  in  giving 
the  face,  while  the 
e  most  masterful 
iged. 

ibuted  to  Raphael, 
before  he  went  to 
on  strongly  recalls 
Raphael  was  then 
ely  Raphaelesque. 
>e  manner.  The 
!  L  stand  St.  Peter 
ather  St.  Bernard, 
him.)  To  the  R, 
stin  with  the  De 
e  two  dainty  little 
much  is  Raphael's 
least  were  added 
phael's  own  fresco 
still,  one  Cassana 
)py,  and  gave  it  a 
ily  belongs  to  the 

uses,  dancing.  A 
n  the  Louvre,  and 


164.  *  Perugino.  Entombment.  One  of  his  fines*  works. 
Yet  even  in  this  late  composition,  observe  how  the  two 
saints  near  the  R— Nicodemus  and  another  to  whom  he  is 
showing  the  three  nails  (now  almost  faded)— recall  the  ex- 
actly similar  gestures  in  th3  great  Fra  Angelico  in  the  Belle 
Arti,  as  well  as  the  Giottino  in  the  Uffizi  (compare  them.) 
The  women  beautifully  painted.  The  head-dresses,  the 
poses  of  the  heads,  the  treatment  of  the  dead  nude,  the 
somewhat  vague  and  vap'd  e.xpressions  of  the  very  abstract 
spectators,  are  all  redolent  of  Perugino.  Good  Umbrian 
landscape  background. 

Above  it,  163,  an  Annunciation  by  Andrea  del  Sarto. 
Full  of  light  and  charming  colour,  but  very  typical  of  the 
change  which  came  over  later  Renaissance  conceptions  of 
this  subject.    The  angel  is  deliciously  soft  and  boyish. 

159.  *  Fra  Bartolommeo.  The  Risen  Christ,  enthroned  in 
the  midst  of  the  four  Evangelists.  Compare  this  picture 
with  the  Madonna  del  Baldacchino.  The  Evangelists,  alike 
in  figure,  gesture,  and  robes,  foreshadow  the  Raphael  car- 
toons and  show  whence  Raphael  derived  many  of  his  con- 
ceptions.   The  drapery  of  the  Christ  is  masterly. 

R  wall,  *  158,  Raphael's  fine  portrait  of  Cardinal  Bib- 
biena,  a  work  full  of  his  developed  Roman  manner :  but 
considered  a  copy. 

157.  Titian.  A  Bacchanal,  copy,  in  the  same  style  as  his 
Bacchus  and  Ariadne  in  the  National  Gallery. 

153.  Odious  Carlo  Dolci  of  Santa  Rosa. 

150.  ♦Van  Dyck.  Excellent  portrait  of  Charles  land 
Henrietta  Maria.  The  faces  are  rendered  with  all  Van 
Dyck's  courtly  grace,  and  the  lace  is  (as  always  with  this 
painter)  a  marvel  of  workmanship.  You  can  see  the  very 
stitches  that  are  .  .ot  there ;  the  illusion  is  only  dispelled  by 
close  inspection.  Charles's  face  bears  the  character  of  the 
man— chivalrous  and  opinionated,  false  and  yet  honest. 

151.  *  Raphael's  JVladonna  della  Sedia,  of  his  Roman 
period.  The  most  popular  but  not  the  most  beautiful  of  his 
Madonnas.  In  form,  this  is  a  Madonna  with  the  infant  St. 
John.    Our  Lady  is  represented  by  a  comely  and  graceful 


193 


mm 


FLORENCE 


[vii. 


but  by  no  means  spiritual  and  somewhat  insipid  Roman 
contadina.  The  child  is  a  dainty  well-fed  human  baby,  very 
charming,  but  not  divine.  The  head-dress  and  shawl  are 
pretty  and  prettily  painted.  Pure  maternal  love  is  the  key- 
note. As  art,  this  ia  a  fine  work,  but  it  does  not  appeal  to 
the  soul  like  the  Madonna  del  Granduca  opposite  it.  Go 
frequently  from  one  to  the  other  if  you  would  understand 
♦he  difference  between  the  great  painter's  Florentine  and 
Roman  manners.  Compare  also  the  face  and  neck  of  the 
Granduca  with  the  Perugino  in  the  same  room,  and  the 
infant  Christ  in  the  Scdia  with  the  baby  angels  in  Fra 
Bartolommeo's  Risen  Christ.  They  throw  much  light  upon 
Raphaels  evolution.  The  soft  tints  and  evasive  drawmg  of 
the  infant  St.  John  of  Florence,  on  the  other  hand,  show  his 
increase  in  skill  over  the  definiteness  of  the  Granduca.  But 
as  he  gained  in  knowledge,  he  lost  in  purity. 

The  room  contains  many  other  good  works  to  which  I  do 
not  call  attention. 

Sala  di  Oiove. 
R  of  the  door,  i8,  ♦Titian's  Bella,  a  beautiful  and  beauti- 
fully painted  portrait  of  a  calmly  aristocratic  Venetian  lady 
(with  rich  waving  hair)  which  should  be  compared  with  the 

Caterina  Comaro  in  the  Uffizi.     The   dress  is  charming. 

This  is  one  of  Titian's  most  pleasing  portraits  in  Florence. 

The  slashed  sleeves  are  rendered  with  consummate  skill. 

The  colouring  is  delicious. 
Above  it,  139.    *A  charming  Holy  Family  by  Rubens, 

where  the  Christ  and  St.  John  recall  in  beauty  the  portra.c 

of  his  own  baby  at  Munich.    This  is  a  splendid  bit  of  colour 

and  drawing  in  Rubens's  best  smaller  style. 

L  of  the  door  ;  64.    **Fra  Bartolommeo.    Deposition. 

A  noble    and    attractive   work,  with  an  exquisite    Mater 

Dolorosa,  and  a  fine  figure  of  the  Magdalen  embracing  the 

feet  of  Christ.    The  dead  Saviour  is  admirably  studied. 

The  meaningless  face  of  the  St.  John,  however,  somewhat 

mars  the  effect  of  the  picture. 

On  the  same  wall  are  two  interesting  Paolo  Veroneses, 

and  a  fine  portrait  by  Tintoretto. 


•s^smi^^msmmmamim 


[VII. 

hat  insipid  Roman 
i  human  baby,  very 
ress  and  shawl  are 
nal  love  is  the  key- 
does  not  appeal  to 
ca  opposite  it.  Go 
1  would  understand 
er's  Florentine  and 
ce  and  neck  of  the 
ime  room,  and  the 
laby  angels  in  Fra 
3w  much  light  upon 
i  evasive  drawmg  of 
»ther  hand,  show  his 
the  Granduca.  But 
rity. 
works  to  which  I  do 


eautiful  and  beauti- 
cratic  Venetian  lady 
I  compared  with  the 
dress  is  charming, 
lortraits  in  Florence. 
1  consummate  skill. 

Family  by  Rubens, 

I  beauty  the  portra.c 

plendid  bit  of  colour 

yle. 

tmmeo.    Deposition. 

an  exquisite    Mater 

dalen  embracing  the 

admirably  studied. 

however,  somewhat 

ig  Paolo  Veroneses, 


■^WPHWWIitiiii     i|iwi|]uiiiwji)timmi»wn 


VII.] 


THE  PITTI  PALACE 


193 


End  wall,  two  excellent  Morones. 

1 25,  *Fra  Bartolommeo's  St.  Mark,  in  a  niche  resembling 
those  beneath  the  dome  of  the  cathedral.  (Observe  in 
architecture  these  Renaissance  niches.)  This  is  a  splendid 
colossal  work,  noble  in  form,  and  admirable  in  drapery,  but 
a  little  too  grandiose.  It  again  shows  whence  Raphael 
derived  many  of  his  figures  of  Evangelists  and  Apostles. 
The  picture  was  painted  for  the  choir  of  San  Marco,  the 
church  of  the  painter's  own  monastery. 

Over  the  door,  ♦124,  a  beautiful  Annunciation  by  Andrea 
del  Sarto.  Mote  here,  as  a  formal  point,  that  the  positions 
of  the  Madonna  and  angel,  to  R  and  l,  are  reversed 
from  familiar  usage.  Yet  observe  even  in  this  work  the 
survival  of  a  formal  barrier  (the  prie-dieu)  between  Gabriel 
and  Our  Lady.  The  shrinking  attitude  of  the  Madonna, 
with  her  finger  in  her  open  book,  is  most  charming,  and  the 
colour  is  of  Andrea's  finest.  In  the  background,  we  get  a 
reminiscence  of  the  traditional  loggia,  as  we  do  also  of 
several  other  early  elements.  From  the  top  of  the  balcony, 
David  beholds  Bathsheba  bathing  (somewhat  publicly,)  a 
mete  excuse  for  the  Renaissance  love  of  the  nude.  The  two 
additional  angels  in  the  background  are  unusual.  Note  the 
dove  descending  in  a  glory  on  the  R. 

123.  Luminous  Andrea  del  Sarto  of  the  glorified  Ma- 
donna, with  saints.  Not  quite  so  beautiful  as  the  last. 
This  is  a  Vallombrosan  picture,  and  the  saints  in  the  fore- 
ground form  a  familiar  Vallombrosan  group,  San  Bernardo 
degli  Uberti,  St.  George,  (or  San  Fedele  ?)  San  Giovanni 
Gualberto,  and  St.  Catherine,  whose  broken  wheel  is  just 
visible  in  the  foreground.  The  colouring  is  not  so  fine  as  is 
usual  with  Andrea  :  but  the  picture  has  had  hard  treatment. 
Lafenestre  attributes  the  upper  portion  alone  to  Andrea. 

Beyond  it,  more  good  Morones. 

118.  Andrea  del  Sarto's  portrait  of  himself  and  his  wife, 
whose  face  you  will  often  recognise  in  other  works  from  his 
pencil.    A  beautiful  picture. 

J 76.  Hateful  Domenichino  of  St  Mary  Magdalen.  La- 
chrymose and  affected  in  the  worst  style  of  the  decadence. 

N 


■  «*wM*«.wsa««*^«-'-' 


'i(**Jp.J«i«WffU  "■ 


194 


FLORENCE 


[VII. 


H3.  Rosso.  The  Three  Fates,  long  attributed  to 
Michael  Angclo. 

no.  *Lorenzo  Lotto.  The  Three  Age»  of  Man.  Three 
splendid  portraits,  admirable  in  their  feeling  and  colouring. 

109.  Paris  Bordone.  Portrait  of  a  lady.  He  has 
painted  several  stages  of  the  same  face  elsewhere,  I  think. 

The  dark  wall  between  the  windows  has  a  tolerable 
Rubens  and  various  works  of  the  decadence.     The 

5c1a  dl  Marte 

contains,  L  of  the  door.  Guercino's  St.  Sebastian,  and 
Cigoli's  Magdalen,  chiefly  interesting  for  comparison  with 
earlier  conceptions. 

Over  the  door,  97,  Andrpa  del  Sarto.  Another  Annunci- 
ation, with  St.  Michael  in  attendance,  holding  his  scales. 
Not  so  pleasing  as  previous  ones. 

Beyond  the  door,  92.  *Titian.  The  young  man  with  the 
glove.     A  very  noble  portrait. 

Above  it,  AUori's  Sacrifice  of  Abraham,  after  Sodoma. 

94.  Raphael's  Holy  Family,  known  as  the  Madonna  dell' 
Impannata.  This  is  a  Madonna  with  a  young  St.  John 
Baptist  who  closely  resembles  an  infant  Bacchus.  St. 
Anne  has  beautiful  draperies,  and  a  fine  strong  face,  well 
contrasted  in  line  and  colour  with  the  fresh  young  skin  of  a 
girlish  saint  behind  her.  But  the  whole  picture  fails  to 
please  like  his  earlier  works. 

91.  Ludicrous  St.  Peter  weeping,  by  Carlo  Dolci.  His 
grief  moves  laughter. 

96.  ♦Allori.  Judith  with  the  head  of  Holofernes.  One  oi 
the  noblest  and  most  successful  works  of  tl  e  decadence.  A 
proud  fine  figure.  Judith's  strong  dark  face  is  flushed  with 
passion  and  with  her  strange  night's  work.  She  looks  a 
woman  capable  of  such  a  deed — but  not  such  stooping. 
Her  brocade  is  painted  with  rare  carefulness  for  its  epoch. 

90.  Cigoli.  Ecce  Homo.  Mannered.  Other  mannered 
works  of  the  same  period  I  do  not  notice. 

Above  it,  89,  a  pleasing  Bonifacio  (the  second)  of  the  Rest 
in  the  Flight  into  Egypt.    Also  attributed  to  Paris  Bordone. 


[Vll. 

long    attributed    to 

{C8  of  Man.    Three 
iling  and  colouring, 
a    lady.      He    has 
slsewhcre,  I  think. 
has  a  tolerable 
The 


ws 
:nce, 


St.   Sebastian,   and 
for  comparison  with 

.    Another  Annunci- 
,  holding  his  scales. 

young  man  with  the 

m,  after  Sodoma. 
is  the  Madonna  dell' 
h  a  young  St.  John 
nfant  Bacchus.  St. 
ine  strong  face,  well 
fresh  young  skin  of  a 
vhole  picture  fails  to 

ly  Carlo  Dolci.     His 

Holofernes.  One  oi 
of  tie  decadence.  A 
k  face  is  flushed  with 

work.    She  looks  a 
t  not  such  stooping, 
ulness  for  its  epoch, 
id.     Other  mannered 
ce. 

le  second)  of  the  Rest 
ited  to  Paris  Bordone. 


VII.] 


THE  PTYTI  PALACE 


195 


88  and  87.  Andrea  del  Sarto.  The  story  of  Joseph. 
Confi'sed  and  not  very  pleasing. 

Abv  /e,  86,  Rubens,  the  Eaects  of  War,  an  allegorical 
picture  closely  resembling  his  Marie  de  Mddicis  stries,  from 
the  Luxembourg,  now  in  the  Louvre. 

85.  **Rubens.  Portrait  of  himseU  and  his  brother,  and 
Lipsius  anv  Grolius.  One  of  his  finest  portrait  pieces. 
Note  the  admirable  contrast  between  the  faces,  expressions, 
and  gestures  of  the  two  jurists  and  philosophers  on  the  one 
hand,  and  of  the  artists  and  diplomatists  on  the  other. 
They  represent  respectively  scholars  and  men  of  the  world 
thinkers  and  actors.  Look  long  at  the  rich  red  sensuous 
lips  and  wistful  faces  of  the  artistic  grand  signiors,  beside 
the  firmer  mouths,  thoughtful  eyes  and  brows,  and  scholarly 
hands  of  the  two  philosophers.  These  are  likenesses  that 
interpret  the  sitters.  The  bust  of  Seneca  at  the  bach,  the 
Dutch  tulips,  the  landscape,  the  fur,  the  curtain,  the  books, 
the  dog,  the  table-cover,  all  are  worth  notice.  Do  not  hurry 
away  from  this  picture.  It  is  deep— going  right  into  the 
nature  of  the  men. 

Above  it,  84.  A  fine  Bonifacio  (or  Palma  Vecchio),  full 
of  the  spirit  of  the  later  school  of  Venice. 

R  wall,  83.  ♦Tintoretto  (or  Titian).  Excellent  portrait 
ot  Luigi  Cornaro. 

81.  ♦♦Andrea  del  Sarto.  Madonna  and  Child,  with  St. 
Elizabeth  and  the  Baptist.  This  is  one  of  his  most  ex- 
quisite and  finely-coloured  works.  His  soft  melting  tints 
are  nowhere  better  exemplified. 

Above  it,  80.  Titian.  Fine  portrait  of  the  anatomist 
Vesalius,  not  well  preserved. 

82.  ♦Van  Dyck.  Noble  and  characteristic  portrait  of 
Cardinal  Bentivoglio.  A  gentleman  to  the  finger  ends : 
restrained,  diplomatic. 

79.  The  best  of  the  replicas  of  Raphael's  portrait  of  Pope 
Julius  II,  though  not  now  considered  the  original.  A  fine 
realization  cf  the  stern  and  hard  old  man.  Face,  beard, 
hands,  red  cap,  and  folds  of  the  white  robe,  all  painted  as 
well  as  Raphael  could  paint  them.  Another  portrait  that 
shows  a  man's  spirit. 


n 


:jS^,flBBlrt«*''«wi  -^ 


196 


FLO RE NCR 


[VTI. 


7J.  Guido  Carracci.  Chiefly  interesting  as  a  late  ex- 
ample of  the  siil)jc(t  of  the  Penitent  MaK<lalen  in  the  Deset 
lifted  to  behold  the  Heatific  Vision.     How  altered  ! 

Window  wall.  Several  late  pictures,  worth  notice,  but 
not  calling  for  explanation. 

Sala  d'  Apollo. 
R  of  the  door,  67.  *Titian.    Magdalen.    This  is  intended 
nominally  as  a  representation  of  the  Penitent  in  the  IJesert 
of  Provence.     But  'tis  a  far  cry  from  the  nameless  Byzantine 
in  the  Belle  Arti,  or  even  from  the  haggard  Donatello  of  the 
Baptistery.    Titian  simply  paints  a  beautiful  nude  Venetian 
woman,  with  copious  golden  hair,  covering  her  just  enough 
to  salve  her  modesty,  but  not  to  conceal  her  luscious  and 
beautiful  figure.    The  alabaster  pot  of  ointment  by  her  side 
serves  merely  to  tell  us  this   is  meant  for  a   Magdalen. 
Obviously,  she  has  not  been  fasting.     Regarded  as  a  work 
of  art,  this  is  a  fine  picture  of  a  fine  model.      Face,  hair, 
and  arms  are  exquisitely  rendered.     It  belongs  to  the  same 
family  group  in   Titian's  work  as  the  Flora,  the   Caterina 
Cornaro,  and  the  Bella— vivid  realizations  of  an  exuberant 
type  of  female  beauty.    Compare  it  also  with  the  recumbent 
Venus  in  the  Uffizi. 

Above  it,  66.  Andrea  del  Sarto,  by  himself.  A  fine 
portrait  with  a  wistful  expression.  Still  higher,  a  good 
Tintoretto. 

63.  Murillo.  Madonna  and  Child.  I  am  too  much  out  of 
sympathy  with  this  picture  to  venture  upon  making  any 
comment  upon  it. 

60.  *»Rembrandt'8  Portrait  of  Himself.  A  miracle  of 
light  and  shade,  where  the  glow  on  the  face  and  on  the 
corslet,  as  well  as  the  hair  and  chain  of  office,  are  master- 
pieces of  handicraft. 

58.  *Andr»a  del  Sarto.  Fine  Deposition,  which  may  be 
instructively  compared  with  the  Fra  Bartolommeo. 

|i7.  Copy  by  Giulio  Romano  of  Raphael's  Madonna  deila 
Lucertola  at  Madrid.  Interesting  for  comparison  with 
Raphael's  other  Madonnas  in  this  gallery.  This  wall  also 
r.ontains  two  or  three  other  noteworthy  pictures. 


[VTI. 

ting  as  a  late  ex- 
liilcn  in  the  Detet 
V  ikltered  I 
,  worth  notice,  but 


.  This  is  intended 
litem  in  the  Desert 
nameless  Byzantine 
rd  Donatello  of  the 
tiful  nude  Venetian 
ni,'  her  just  enough 
il  her  luscious  and 
ntmcnt  by  her  side 
t  for  a  Magdalen, 
legardcd  as  a  work 
lodel.  Face,  hair, 
belongs  to  the  same 
Flora,  the  Caterina 
)ns  of  an  exuberant 
with  the  recumbent 

)y  himself.    A  fine 
till  higher,  a  good 

am  too  much  out  of 
I  upon  making  any 

iself.  A  miracle  of 
he  face  and  on  the 
)f  office,  are  master- 

ition,  which  may  be 

rtolommeo. 

lael's  Madonna  deila 

or    comparison   with 

llery.    This  wall  also 

pictures. 


VII.] 


THE  PITT I   PALACE 


End  wall,  55.  Haroccio.  Quaint  little  picture  of  a  baNy 
prince  of  Urbino.  More  interesting  than  are  often  the 
works  of  thii  insipid  painter. 

Abt)ve  it,  54.  *(;ood  portrait  by  Titian  of  I'ietro  Aretino, 
who  does  not  l(K>k  as  bad  as  he  wai  in  icality  ;  broadly 
painted  with  masterful  decision.  Note  here  also  53,  by 
Pordrnone,  a  fine  example  of  the  later  Venetian  manner.  I 
pasi  over  the  Guercino,  etc.  49,  by  Tiberio  Tito,  ii  a 
pretty  baby,  not  without  interest. 

The  R  wall  has  several  to'erable  late  pictures,  of  which 
40,  AUori's  Hospitality  of  St.  Julian,  possesses  a  certain 
value.  For  the  legend,  see  Mrs.  Jameson.  Beneath  it  are 
three  fine  half-lengths. 

44.  A  hard  but  tolerably  good  portrait  of  the  school  of 
Francia.  43.  *A  charming  portrait  by  Franciabigio.  42. 
A  delicate  Magdalen  by  Perugino,  in  his  later  manner, 
probably  an  old  copy. 

40,  •**  Raphael's  portrait  of  Pope  Leo  X,  with  two  car- 
dinals, a  work  which  should  be  compared  with  his  Cardinal 
Inghirami  and  his  Julius  II.  It  represents  Leo  In  his 
character  of  art-patron.  The  picture  shows  a  high  point  of 
technical  skill,  but  is  far  less  interesting  than  Raphael's 
earlier  manner.  The  blending  and  harmonising  of  the  reds 
is  excellent.  The  fat  epicure  of  a  Pope  is  examining  a 
manuscript  with  his  celebrated  magnifying  glass.  The  car- 
dinals are  Giulio  de'  Medici  and  Ludovico  de'  Rossi.  Giulio 
Romano  partly  executed  it. 

38.  Attributed  to  Palma  Vecchio.  Christ  and  the  dis- 
ciples at  Emmaus.  A  most  interesting  example  of  the 
transitional  period  in  Venetian  art,  with  recollections  of 
Bellini  and  foreshadowings,  or  more  likely  reminiscences, 
of  Titian. 

Window  wall,  works  of  the  decadence. 
Ssla  dl  Venere. 

L  of  door,  20,  *  Albert  Diirer's  Adam,  with  Eve  opposite. 
Another  interesting  example  of  the  rigid  northern  nude, 
which  should  be  compared  by  photographs  with  those  in  the 
Uffizi.     It  marks  advance,  and  is  worthy  of  the  great  mas- 


li'iji'Miit' 


198 


FLORENCE 


[VII. 


ter,  but  is  still  sadly  lacking  in  grace  and  ideality.     Perhaps 
a  copy  from  the  original  at  Madrid. 

Over  the  door,  19.  Spagnoletto's  unpleasing  Flaying  of 
St.  Bartholomew. 

140.  Leonardo  (or  his  school).  Portrait,  which  should  be 
compared  with  Raphael's  Maddalena  Doni,  as  well  as  with 
the  Mona  Lisa  at  the  Louvre.  Look  closely  at  the  hands. 
Note  also  the  landscape  background. 

17.  Titian.  Madonna  and  Child,  with  St.  Catherine  and 
the  youthful  Baptist.  An  admirable  example  of  Titian's 
treatment  of  these  subjects. 

76.  *  Fine  murky  Rembrandt  of  an  old  man  :  gloomily 
glorious.  Above  it,  15,  a  good  Salvator  Rosa,  for  those  who 
like  him. 

End  wall.  Works  of  the  decadence  :  also,  14,  a  land- 
scape by  Rubens,  hay-making.  1 5,  M.  Rosselli's  Triumph 
of  David,  a  good  theatrical  work  of  the  late  period.  11, 
Francesco  Bassano's  St.  Catherine  rescued  by  the  angel, 
full  of  the  late  Venetian  feeling.  Compare  it  with  the  Titian 
in  the  same  room.  9,  *another  landscape  by  Rubens,  with 
small  figures  of  Ulysses  and  Nausicaa. 

R  wall.  Good  pictures  by  various  late  artists.  Above 
them,  a  sea  piece  by  Salvator  Rosa. 

Over  the  door,  3,  Tintoretto,  Venus  and  Vulcan,  with 
Cupid.  I,  Diirer's  Eve,  one  of  the  finest  embodiments  of 
the  northern  nude,  admirable  in  its  way,  but  still  larking  the 
ideality  of  Italian  treatment.  Compare  with  the  Adam 
opposite  and  with  others  in  the  Uffizi.  Again,  perhaps  a 
copy. 

Window  wall.  Several  works  of  the  Decadence,  among 
which  23,  Rustici's  death  of  the  Magdalen,  is  funny  as  repre- 
senting a  late  baroque  conception  of  the  Penitent  in  the 
Desert  visited  by  the  ange;. 

Now  return  to  the  Sala  dell'  lliade,  the  first  you  entered. 
The  door  on  your  R  leads  to  the 

Stanza  dell'  Ediicazlone  dl  Qlove, 
which  contains  chiefly  works  of  the  17th  century.    The  most 
interesting  are  portraits  near  the  window  by  Bronzino,    270, 


[VII. 

id  ideality.     Perhaps 

ipleasing  Flaying  of 

rait,  which  should  be 
Doni,  as  well  as  with 
closely  at  the  hands. 

ith  St.  Catherine  and 
example  of  Titian's 

n  old  man  :  gloomily 
)r  Rosa,  for  those  who 

»ce  :  also,  I4»  a  i&nd- 
A.  Rosselli's  Triumph 
the  late  period,  ii, 
escued  by  the  angel, 
ipare  it  with  the  Titian 
scape  by  Rubens,  with 
I. 
is  late  artists.    Above 

nus  and  Vulcan,  with 
finest  embodiments  of 
ay,  but  still  lacking  the 
npare  with  the  Adam 
fizi.    Again,  perhaps  a 

the  Decadence,  among 
dalen,  is  funny  as  repre- 
of  the  Penitent  in  the 

;,  the  first  you  entered. 

le  di  Qlove. 

7  th  century.  The  most 
idow  by  Bronzino.    270, 


THE   PITT I   PALACE 


Guido  Reni's  too  famous  Cleopatra,  is  an  affected  and  man- 
nered picture. 

272  *Andrea  del  Sarto's  Young  St.  John  Baptist.  Once 
a  fine  work,  full  of  later  Renaissance  spirit,  and  still  admir- 
able in  its  colouring,  (though  spoilt  by  restorers)  the  red 
robe  in  the  foreground  being  even  now  splendid,  while  the 
flesh-tints  are  ruined.  Like  the  work  on  the  same  subject 
by  Raphael  in  the  Tribuna,  it  departs  entirely  from  the 
earlier  ascetic  tradition,  and  represents  the  patron  saint  of 
Florence  in  the  form  of  a  beautiful  semi-nude  boy,  finely 
proportioned  and  delicately  nurtured.  This  is  in  point  of 
fact  a  well-nourished  noble  youth,  with  nothing  about  him 
of  the  penitent  or  the  ascetic.  The  camel's  hair  robe  and 
the  reed  cross  are  mere  vague  pretences.  The  hand  that 
holds  the  bowl  is  admirably  modelled. 

258,  Good  portrait  by  Tiberio  Tinelli.  262,  Henri  II  of 
France,  attributed  to  Clouet,  but  surely  Flemish  (?).  255, 
Tolerable  portrait  by  Van  der  Heist,  not  up  to  his  usual 
level.  Above  them,  good  Holy  Families,  256  and  254,  by 
Fra  Bartolommeo  and  Palma  Vecchio  (?).  252,  Scholar  of 
Holbein,  portrait  of  the  Due  de  Guise.  245,  Fine,  but 
rather  uninteresting  and  badly  used  portrait,  attributed  to 
Raphael,  though  of  doubtful  authenticity,  and  known  as 
La  Velata.  It  represents  the  same  model  who  reappears  in 
the  Dresden  Madonna,  and  in  the  Magdalen  of  the  St. 
Cecilia  at  Bologna,  without  the  radiance  or  the  rapt  eyes. 
*243,  Velasquez,  good  portrait  of  Philip  IV  of  Spain. 
Many  other  pictures  in  this  room  are  deserving  of  notice, 
but  none  of  them  call  for  that  sort  of  explanation  which  is 
the  chief  object  of  the  present  Guide. 

The  small  room  to  the  L,  the 

Stanza  delta  Stufa, 
has  unimportant  frescoes  of  the  Ages  of  Gold,  Silver,  Brass, 
and  Iron,  by  Pietro  da  Cortona,  and  two  bronze  statues  of 
Cain  and  Abel,  after  Dupr^.  The  door  to  the  R  leads  to 
the  Bathroom,  a  florid  little  apartment,  cold,  cheerless,  and 
sadly  over-decorated. 

Beyond  it  lies  the 


:*$ 


200 


FLORENCE 


[VII, 


Stanza  d'  Ulisse, 

with  works  mostly  of  the  later  age,  few  of  which  are  im- 
portant. Entrance  wall :  r  of  the  door,  300,  unuswally  fine 
portrait  of  an  Old  Man  by  Salvator  Rosa.  303  aiid  304  are 
also  good  pictures  of  their  school. 

End  wak  303,  by  Allori,  shows  the  last  stage  of  the 
Young  St.  John  in  the  Desert.  307,  Andrea  del  Sarto,  the 
Madonna  and  Child,  enthroned  on  clouds,  with  various 
saints,  in  his  latest  and  least  pleasing  style,  and  spoilt  by 
the  restorer.  In  the  foreground  kneels  St.  John  Baptist, 
balanced  by  the  Magdalen  with  her  box  of  ointment.  Behind 
these  two  stand,  L,  St.  Lawrence  and  St.  Job  (Paul  the 
Hermit?  Hilarion?),  R,  St.  Sebastian  and  St.  Roch.  (The 
combination  of  plague-saints  makes  me  think  the  nude  saint 
is  Job.)  The  picture  has  been  sadly  ill-used,  and  much  of 
the  colour  in  the  drapery  is  quite  unworthy  of  Andrea.  The 
Madonna  and  Child,  however,  are  well  finished.  311, 
Ascribed  to  Titian,  more  probably  Dosso  Dossi,  good  por- 
trait of  a  Duke  of  Ferrara.     Replica  ol  one  at  Modena. 

L  wall.  1313,  Tintoretto,  Madonna  and  Child,  marked 
by  his  peculiar  smoky  colouring  and  contrasted  radiance. 
318,  Lanfranchi,  St.  Margaret  beholding  a  Vision,  theatrical 
and  mannered.  321,  A  very  unpleasing  Ecce  Homo  by 
Carlo  Dolci,  foreshadowing  later  cheap  ecclesiastical  decor- 
ation. Still  more  unpleasing  is  325,  Madonna  and  Child. 
Above,  324,  Van  Dyck's  (or  Rubens's)  portrait  of  the  Duke 
of  Buckingham,  instinct  with  the  man's  vain  and  ineffective 
character,  scarcely  concealed  by  flattery  of  a  patron. 

326.  Paris  Bordone's  fine  copy  of  Titian's  portrait  of  Pope 
Paul  III,  at  Naples,— a  harmony  in  red,  very  effectively 
rendered.  The  feeble  old  man  with  his  half-open  mouth  and 
his  sprawling  hands  sits  alive  before  us.  Note  those  hands 
well.  The  veins  and  sinews  show  through  them  in  a  most 
lifelike  manner. 

The 

Stanza  dl  Prometeo, 
contains  several  excellent  works  of  the  earlier  period. 

Entrance  wail,  L  of  door,  371,  ♦good  hard  profile  portrait, 


Vi  •"riif"rtr"llllMMB|((-- 


[vn. 


jf  which  are  im- 

|oo,  unusually  fine 

303  aiid  304  are 

last  stage  of  the 
rea  del  Sarto,  the 
uds,  with  various 
tyle,  and  spoilt  by 

St.  John  Baptist, 
)intment.     Behind 
St.  Job  (Paul  the 
d  St.  Roch.    (The 
ink  the  nude  saint 
ised,  and  much  of 
y  of  Andrea.    The 
11  finished.      3". 
)  Dossi,  good  por- 
,e  at  Modena. 
md  Child,  marked 
jntrasted  radiance, 
a  Vision,  theatrical 
ig  Ecce  Homo  by 
icclesiastical  decor- 
adonna  and  Child, 
ortrait  of  the  Duke 
vain  and  ineffective 
of  a  patron, 
m's  portrait  of  Pope 
ed,  very  effectively 
lalf-open  mouth  and 
Note  those  hands 
jgh  them  in  a  most 


arlier  period. 

hard  profile  portrait, 


^''- 


VII.] 


THE  PITTI  PALACE 


201 


n  the  Lombard  manner,  of  Beatrice  d'Estc,  attributed  to  the 
Umbrian,  Piero  della  Fraucesca.  376,  *Lorenzo  Costa,  good 
portrait  of  a  Duke  of  Bentivoglio.  Over  the  door,  338, 
School  of  Bellini,  Madonna  with  St.  James  and  St.  Catherine, 
an  excellent  example  of  the  style  leading  up  to  Titian.  341, 
Pinturicchio,  Adoration  of  the  Magi,  where  faces,  figures, 
head-dresses,  and  composition  are  all  highly  characteristic 
of  this  strongly-marked  and  individualised  Umbrian  painter, 
(best  seen  in  the  Library  at  Siena.)  340,  School  of  Perugino, 
(probably  by  the  master  himself,)  Madonna  and  Child,  with 
two  ill-marked  female  saints.  343,  **Fra  Filippo  Lippi, 
beautiful  round  Madonna  and  Child,  with  the  pomegranate. 
The  face  of  Our  Lady  is  that  of  Lucrezia  Buti,  whom  the 
painter  married.  In  the  background  are  two  other  episodes  ; 
h,  the  Birth  of  the  Virgin,  with  St.  Anne  in  bed,  and  servants 
bringing  in  the  usual  objects  ;  R,  the  Meeting  of  Joachim 
and  Anna  at  the  Golden  Gate.  The  round-faced  boy  to  the 
extreme  R  is  highly  characteristic  of  Fra  Filippo's  manner  ; 
so  is  the  infant  Christ.  This  is  one  of  his  best  panel  pictures, 
the  colour  brighter  and  warmer  in  tone  than  usual.  339, 
Good  portrait  by  Tintoretto.  342,  Unknown  15th  cent. 
Florentine  Madonna  and  Child,  with  the  infant  St.  John, 
accompanied  by  two  angels.  346,  Zucchero,  interesting 
chiefly  cs  a  late  and  wholly  altered  Magdalen,  nude  save  for 
her  own  hair,  lifted  from  the  mouth  of  the  Sainte  Baume  by 
angels,  to  behold  the  Beatific  Vision,  (incorrectly  described  in 
this  and  in  many  other  cases  as  the  Assumption  of  the  Mag- 
dalen.) To  the  R  in  theforeground  may  be  seen  the  cave,  with 
crucifix,  skull,  and  other  properties.  Above  it,  345,  excel- 
lent Holy  Family  by  Granacci,  in  one  of  his  happier  moments. 
Higher  still,  pleasing  portrait  by  Sustermans  of  a  Medici 
baby.  Over  the  door,  *347,  School  of  Filippino  Lippi,  Vir- 
gin adoring  the  Child,  with  the  infant  St.  John  Baptist,  and 
attendant  angels,  many  of  them  with  the  familiar  Medici 
features.  In  the  background,  marble  balustrade  with  lizard 
and  good  hard  landscape.  The  picture  looks  very  like  a 
Filippino,  and  recalls  the  St.  Bernard  of  the  Badia. 
End  wall"     388,  Filippino  Lippi,  Death  of  Lucretia,  the 


11— Mi 


FLORENCE 


story  told  in  three  episodes  j  not  very  successful.  349,  Holy 
Family,  after  Filippino  Lippi.  Above  it,  348,  School  of 
Botticelli,  Madonna  and  Child,  with  infant  St.  John  of  Flor- 
ence, and  two  attendant  angels.  One  bears  a  sword,  the 
other  a  lily  ;  whence  they  probably  represent  St.  Michael 
and  St.  Gabriel.  The  baby  is  ill-drawn  and  lifeless.  St. 
John's  arms  still  betray  the  ascetic  tendency.  Beneath,  353, 
Botticelli,  portrait  called  I^  Bella  Simonetta,  a  literal  and 
unflattering  cture,  hard  and  dry,  and  with  little  of 
Botticelli's  usual  spirituality.  It  is  well  painted  in  its  archaic 
way,  but  most  honest  spectators  will  confess  it  gives  them 
little  pleasure.  The  ascription  to  Botticelli  is  more  than 
doubtful,  and  the  face  is  not  that  of  Giuliano  de'  Medici's 
famous  mistress.  355,  Luca  Signorelli,  Holy  Family,  with 
St.  Catherine,  well  drawn  and  incisive,  but  deficient  in  colour- 
ing- 354i  School  of  Lorenzo  di  Credi,  Holy  Family, 
characteristic  in  composition,  but  lacking  the  delicate  touch 
of  the  master.  357,  Botticelli,  Madonna  giving  the  Child  to 
the  infant  St.  John  to  kiss,  a  typically  Botticellian  (experi- 
mental) deviation  from  the  ordinary  models.  The  boy 
Baptist  is  very  charming :  the  infant  Chriit  over-fed  and 
sleepy.  365.  Mariotto  Albertinelli,  Holy  Family  and  angel, 
in  his  simpler  early-Florentine  manner,  with  little  trace  of 
Fra  Bartolommeo's  influence.  358,  Ghirlandajo's  Adoration 
of  the  Magi,  a  partial  replica  of  his  great  picture  in  the 
U.Tizi,  with  different  background  and  many  figures  omitted. 
The  workmanship  is  not  so  fine  as  that  of  the  original.  This 
wall  contains  other  good  Madonnas  by  Garofalo,  Boateri, 
and  a  nameless  Florentine  of  the  school  of  Lippi. 

L  wall.  372,  Attributed  (most  doubtfully)  to  Andrea  del 
Castagno,  portrait.  369,  Excellent  Ecce  Homo  by  Pollaiolo. 
Over  the  door,  373,  15th  cent.  Dominican  Florentine  altar- 
piece,  attributed  (not  very  probably)  to  Fra  Angelico ; 
centre,  Madonna  and  Child  :  l,  St.  John  Baptist  of  Flor- 
ence and  St.  Dominic  :  R,  St.  Peter  Martyr  with  his  bleed- 
ing head,  and  St.  Thomas  Aquinas  with  his  open  book  and 
rays.  In  the  cuspidi,  little  Annunciation.  Behind,  an 
episode  of  St.  Dominic  Preaching,  and  the  martyrdom  of 


riaaMaaiai^L. 
[VII.  j 


[VII. 

cessful.     349,  Holy 

it,  348,  .'School  of 

It  St.  John  of  Flor- 

bears  a  sword,  the 

resent  St.  Michael 

and  lifeless.     St. 

ncy.     Beneath,  353, 

)netta,  a  literal  and 

and    with    little    of 

lainted  in  its  archaic 

nfess  it  gives  them 

ticelli  is  more  than 

iuliano  de'  Medici's 

Holy  Family,  with 

it  deficient  in  colour- 

edi.   Holy    Family, 

g  the  delicate  touch 

1  giving  the  Child  to 

Botticellian  (experi- 

modelis.      The    boy 

Christ  over-fed  and 

ly  Family  and  angel, 

,  with  little  trace  of 

lirlandajo's  Adoration 

great  picture  in  the 

lany  figures  omitted. 

of  the  original.    This 

}y  Garofalo,  Boateri, 

)1  of  Lippi. 

btfuUy)  to  Andrea  del 
;e  Homo  by  PoUaiolo. 
can  Florentine  altar- 
)  to  Fra  Angelico ; 
ohn  Baptist  of  Flor- 
artyr  with  his  bleed- 
th  his  open  book  and 
ciation.  Behind,  an 
id  the  martyrdom  of 


VII.] 


THE  PITTI   PALACE 


St.  Peter  Martyr.  377,  Ecce  Homo,  by  Fra  Bartolommeo. 
Pleasing  as  colour,  but  deficient  in  sentiment.  379,  Pon- 
tormo.  Adoration  of  the  Magi,  only  interesting  for  its  almost 
Flemish  grotesqueness  of  characterisation.  It  has  a  flavour 
of  Teniers. 

Window  wall,  384,  PoUaiolo's  St.  Sebastian,  a  study  of 
the  mere  anatomical  nude,  well  drawn  but  repulsive,  harsh, 
and  uninteresting  :  the  model  a  bad  one.  As  compared 
with  Perugino  and  Sodoma  in  the  same  subject,  it  shows  the 
temperament  of  the  purely  scientific  Renaissance  artist. 
Several  other  works  in  this  room  are  well  worth  study, 
but  need  no  explanation,  and  can  be  easily  discovered  by  the 
reader  for  himself. 

The 

Stanza  del  PoccettI, 

beyond,  does  not  contain  anything  t'-.at  calls  for  notice  in 
this  book,  A  long  corridor  leads  hence,  through  Florentine 
mosaics  and  miniatures,  (some  of  them  excellent,)  to  the 

Stanza  della  Qiuatlzia, 
which  contains  admirable  portraits,  and  a  few  good  works  ot 
the  late  period.  Hondekoeter's  cocks  and  hens,  however, 
explain  themselves.  Scarselino's  Birth  of  a  Noble  Infant  is 
interesting  as  recalling  earlier  types  of  the  Birth  of  the  V'r- 
gin.  Vasari's  St.  Jerome  similarly  shows  us  the  last  stage 
in  the  treatment  of  that  familiar  subject.  Guido's  St.  Eliza- 
beth is  rather  more  pleasing  than  most  of  his  work.  Some 
of  the  portraits  by  Bronzino  and  Alluri  are  also  attractive 
in  their  way.  The  (second)  Bonifazio's  Finding  of  Christ  in 
the  Temple  shows  a  complete  breaking  away  from  earlier 
tradition.  Sir  Peter  Lel/s  Cromwell,  sent  as  a  present  to 
the  Grand  Duke  Ferdinand  II  by  the  Protector,  will  interest 
English  visitors.  I  leave  the  other  works,  and  the  cabinet 
in  the  centre,  to  the  taste  of  the  reader. 
The 

5tanza  dl  Flora 

contains  chiefly  late  woiks,  of  which  I  shall  only  mention 
Van  Dyck's  Repose  on  the  Flight  into  Egypt.  The  merit 
of  the  rest  can  be  appreciated,  as  good  or  bad,  at  the  spec- 


mmmm 


i 


Ill  I  mm 


FLORENCE 


(vn. 


tator's  own  valuation.  I  will  say  the  same  of  the  last  room, 
the  Sala  del  Putti.  It  is  given  over  to  Salvator  Rosa  and 
the  Carracci. 


The  Boboli  Qardens,  behind  the  Pitt!   Palace,    aiTord 
several  strikinsr  and  characteristic  views  of  Florence. 


i-y-:-,,:.  -^'i^n,  , 


|l|l|IIWII>j|P»      "  ^  " 

[vit. 

le  of  the  last  room, 
>alvator  Rosa  and 


litti   Palace,    afford 
\)(  Florence. 


MMAMMimiMMMtJI 


VIII 
THE  BARGELLO 

r'nr^HE  chief  Magistrate  of  Florence  In  very  early  times 
|_  X  was  the  Podestii.  This  office  was  created  in  1207, 
and  the  judicial  functions  were  entrusted  to  the  officer  so 
named,  who  (owing  to  the  mutual  jealousy  of  the  internal 
factions)  had  to  be  a  foreigner,  elected  for  six  months,  or 
later  for  a  year,  like  mayors  elsewhere.  Even  after  the 
Guilds  had  introduced  their  commercial  oligarchical  system, 
the  Podestk  still  retained  his  judicial  position.  In  1255 
(earlier  than  the  building  of  the  Palazzo  Vecchio)  the  town 
began  to  erect  a  castle  for  its  magistrate,  known  at  first  as 
the  Palazzo  del  Podestii,  but  handed  over  later  to  the  chiet 
of  the  police  under  the  Medici  Grand  Dukes,  from  whom  it 
derives  its  usual  modem  name  of  the  Bargello.  The  exist- 
ing Government  has  fitted  up  the  interior  as  a  museum  of 
plastic  and  minor  arts  ;  and  it  is  therefore  now  officially 
described  as  the  Regio  Museo  Nazionale.  But  nobody  ever 
ca/Is  it  by  any  other  name  save  that  of  the  Bargello.  It  is 
one  of  the  sights  which  is  absolutely  imperative.] 

Take  the  Via  del  Proconsolo,  from  the  Piazza  del  Duomo. 
On  the  L  as  you  descend  is  the  Bargello.  Stand  opposite 
and  examine  the  fafodt  and  tower.  The  portion  that  faces 
you  is  the  original  building  (restored.)  The  part  at  the  back 
is  a  little  later.  Open  daily  from  10  to  4  ;  free  on  Sundays. 
It  takes  at  least  two  days  to  see  it  cursorily.. 

The  entrance  hall,  a  fine  specimen  of  a  vaulted  secular 
interior  of  its  age,  contains  suits  of  armour,  helmets,  etc., 
the  designs  on  many  of  which  are  worthy  of  notice.  Most 
of  them  belonged  to  the   Medici  family.    Also  firearms, 


jy^f 


306 


FLORENCE 


[vni. 


swords,  and  other  weapons,  among  which  notice  a  splendid 
cannon,  cast  in  1638  by  Cosimo  Cenni,  with  the  Head  of 
Medusa,  the  Florentine  lion  (the  Marzocco.)  the  Medici 
balls,  and  other  devices.  Last  cabinet,  helmet  and  shield  of 
Franqois  I"  of  France,  of  Milanese  workmanship.  Round 
the  walls  are  a  series  of  escutcheons.  The  room  to  the  L, 
beneath  the  tower,  contains  a  continuation  cf  the  same 
collection. 

Enter  the  courtyard,  with  its  central  well  and  fine  open 
loggia,  a  remarkable  specimen  of  secular  architecture  of  the 
13th  cent.  Note  the  round  arches  and  the  columns  of  the 
•>illars.  Also  the  escutcheons  of  former  PodestJis  which 
urround  the  court,  and  the  effective  triumphal  arch  on  the 
staircase.  Nowhere  else  in  Florence  do  we  feel  ourselves 
so  entirely  transported  to  the  city  and  age  of  Dante.  The 
arms  of  the  quarters  of  the  city  in  the  loggia  have  the  names 
of  the  wards  to  which  they  belong  inscribed  below  them. 
Note  for  future  guidance  :  you  will  see  them  elsewhere.  The 
best  view  of  the  picturesque  quadrangle,  with  the  beautiful 
loggia  on  the  first  floor,  is  obtained  from  the  corner  opposite 
as  you  enter. 

The  works  of  sculpture  (some  of  them  second-rate)  which 
surround  the  court  are  sufliciently  described  on  their  ofilicial 
labels.  Notice  those  by  Niccol6  di  Piero  Lamberti  and  by 
Piero  di  Giovanni  Tedesco,  from  Or  San  Michele,  as  throw- 
ing light  on  Donatello's  beginnings.  Also,  Giovanni  da 
Bologna's  Architecture,  on  a  fine  Renaissance  base  with 
Medici  balls  and  feathers  :  and  a  Penitent  Magdalen  in 
the  desert,  where  the  sense  of  form  of  the  i6th  cent,  has 
triumphed  over  the  earlier  asceticism  which  dominated  the 
subject.  Baccio  Bandinelli's  Adam  and  Eve  have  the  feeble- 
ness and  vapidity  which  pursue  that  ambitious  but  ineffective 
sculptor's  work.  Michael  Angelo's  *Dying  Adonis,  however, 
is  a  fine  though  confused  piece  of  sculpture,  with  a  noble 
face,  and  well  conceived  hands.  Giovanni  da  Bologna's 
♦Virtue  triumphant  over  Vice  shows  the  French  tinge  of  feel* 
ing  and  the  usual  merits  and  failings  of  its  powerful  but 
theatrical  artist.    Michael  Angelo's  ♦Victory,  unfinished  as 


«t*- 


[vni. 

notice  a  splendid 
I  with  the  Head  of 
kocco.)  the  Medici 
lelmet  and  shield  of 
Iknianship.  Round 
The  room  to  the  L, 
Ration  cf  the  same 

well  and  fine  open 
architecture  of  the 

the  colimms  of  the 

er  Podest^s  which 
iimphal  arch  on  the 

o  we  feel  ourselves 
age  of  Dante.  The 
j[gia  have  the  names 
cribed  below  them, 
lem  elsewhere.  The 
e,  with  the  beautiful 
» the  corner  opposite 

n  second-rate)  which 
•ibed  on  their  official 
iero  Lamberti  and  by 
in  Michele,  as  throw- 
Also,  Giovanni  da 
;naissance  base  with 
;nitent  Magdalen  in 
f  the  1 6th  cent,  has 
which  dominated  the 
Eve  have  the  feeble- 
bitious  but  ineffective 
ing  Adonis,  however, 
ilpture,  with  a  noble 
}vanni  da  Bologna's 
!  French  tinge  of  feel- 
i  of  its  powerful  but 
Victory,  unfinished  as 


Vlll.] 


THE   DARGELLO 


207 


usual,  is  one  of  the  figures  intended  for  the  Tomb  of  Julius 
II,  of  which  the  so-called  Fettered  Slaves  in  the  Louvre 
were  also  portions.  Between  the  two  last  is  a  handsome 
Renaissance  doorway,  with  symbols  of  St.  Mark  ar  '  the 
familiar  Venetian  inscription  :  "  Peace  to  thee,  MarK  my 
Evangelist." 

The  door  opposite  the  entrance  to  the  court  gives  access  to 
two  small  rooms  on  the  ground  floor,  with  fine  fragments 
of  sculpture,  mostly  mediaeval  in  the  first,  and  sufficiently  ex- 
plained by  their  labels.  First  Room,  over  the  door,  a  noble 
Gothic  canopy,  with  Christ  and  saints,  originally  on  the 
facade  of  Santa  Maria  Novella.  Notice  to  the  L  the  arms  of 
the  wool-weavers,  the  lamb  of  St.  John  of  Florence.  Centre, 
90,  Bacchus,  perhaps  by  Giovanni  dell'  Opera.  To  the  R  of 
it,  a  fine  Renaissance  washhand  fountain,  above  which  are 
good  figures  by  Simone  Talenti.  50,  51, 53,  a  fine  Madonna, 
and  Saints  PetLk  and  Paul,  with  their  symbols,  brought  here 
from  the  old  Porta  Romana.  Close  to  them,  two  mar- 
zocchi,  or  Florentine  lions.  I  do  not  call  attention  to  most 
of  the  works  in  this  room  because  they  are  sufficiently 
described  by  their  labels  :  but  almost  all  should  be  noted 
and  examined,  particularly  those  of  the  School  of  Andrea 
Pisano. 

The  Second  Room«  L  wall,  contains  a  beautiful  series  of 
^reliefs,  gravely  injured,  narrating  the  life  and  miracles  of 
San  Giovanni  Gualberto,  founder  of  the  Vallombrosans,  by 
Benedetto  da  Rovezzano.  (They  come  from  the  tomb  of  the 
Saint  in  the  monastery  of  San  Salvi,  and  were  recklessly 
destroyed  by  imperial  soldiers  during  the  siege  of  1530.) 
93,  San  Giovanni  Gualberto  delivers  a  monk  from  a  demon. 
95,  The  miracle  of  San  Pietro  Igneo,  passing  through  the 
fire.  loi,  San  Giovanni  Gualberto  on  his  bier.  Faith  and 
Charity  at  the  sides,  mourning.  104,  *Translation  of  his 
relics  from  Passignano,  with  cure  of  the  sick  as  they  pass 
(an  epileptic  boy  particularly  fine.)  107,  Heretics  attack  the 
monks  of  San  Salvi.  These  exquisite  works,  Benedetto's 
best,  (1506)  deserve  the  closest  attention.  (See  Perkins's 
Tuscan  Sculptors,  and  Mrs.  Jameson's  Monastic  Orders.) 


ao8 


FLORENCE 


[Vlll. 


End  wall,  a  noble  ^mantelpiece,  also  by  Benedetto  da 
Rovezzano,  classical  in  style,  representing  apparently  Apollo, 
Pluto,  and  Jupiter  (?)  This  is  also  one  of  the  most  exquisite 
works  of  Renaissance  sculpture.  L  of  it,  Michael  Angelo's 
unfinished  *Bust  of  lirutus  :  the  inscription  explains  that  he 
had  not  the  heart  to  finish  it  after  Florence  lost  her  freedom  ; 
but  then,  he  seldom  finished  anything.  K,  liandinelli's  insi oid 
Cosimo  I. 

R  wall,  133,  beautiful  **Madonna  and  Child  by  Michael 
Angelo,  an  early  work ;  not  a  sacred  face,  but  calm, 
matronly,  and  beautiful,  like  a  high  born  mother.  Several 
reliefs  by  Fierino  da  Vinci,  Leonardo's  nephew.  124, 
Masque  of  a  Satyr,  attributed  without  due  cause  to  Michael 
Angelo  :  ugly  and  repulsive,  though  not  without  cleverness. 
128,  *Michael  Angelo's  liacchus,  the  pose  of  the  figure  not 
entirely  worthy  of  the  great  sculptor  :  but  the  head  and 
some  other  parts  most  masterly.  133,  Beautiful  Madonna 
and  Child,  with  infant  St.  John  Baptist  of  Florence,  by 
Andrea  Ferruccl.  Beside  it,  iji,  ^beautiful  tabernacle,  of 
perfect  proportions  and  workmanship.  Beneath  it,  good 
reduction  of  Michael  Angelo's  Leda.  134,  Antonio  Rossel- 
iino  (?)  lovely  *tabemacle  for  the  elements,  with  adoring 
angels.  All  the  Renaissance  decorative  work  in  this  room 
deserves  the  closest  attention,  especially  the  two  exquisite 
♦niches,  on  either  side  of  the  doorway,  by  Benedetto  da 
Rovezzano.  Baccio  Bandinelli's  portrait  relief,  136,  has  rare 
merit  for  this  vapid  sculptor. 

Go  out  into  the  courtyard,  and  mount  the  Atalr«,  noticing 

as  you  go  the  numerous  escutcheons  and  memorial  tablets 

of  city  officials  and  others  ;  pass  under  the  triumphal  arch : 

and  enter  the  logf^a  on  the  first  floor,  with  its  vaulted  roof 

spangled  with  Florentine  lilies.    This  gallery  (the  Verone) 

contains  a  collection  of  bells,  many  of  them  with  fine  reliefs 

and  interesting  or  amusing  inscriptions. 

Enter  the  ' 

First  Hall, 

fitted  up  as  a  museum  of  the  works  ot  Donatelio.     Many 

of  the  best  originals  in  Florence  are  here  collected  :  beside 


[VIII. 

by  Benedetto  da 
lapparently  Apollo, 
|the  most  exquisite 

Michael  Angelo's 
3n  explains  that  he 
le  lost  her  freedom  : 
iBandinelli'sinsioid 

Child  by  Michael 

face,   but    calm, 

n  mother.     Several 

o's    nephew.       124, 

ue  cause  to  Michael 

without  cleverness. 

se  of  the  figure  not 

but  the  head  and 

Beautiful  Madonna 

ist   of  Florence,  by 

tutiful  tabernacle,  of 

Beneath  it,  good 

134,  Antonio  Rossel- 

ments,  with  adoring 

/e  work  in  this  room 

lly  the  two  exquisite 

ay,  by  Benedetto  da 

lit  relief,  136,  has  rare 

it  the  Atalr5,  noticing 
md  memorial  tablets 
r  the  triumphal  arch  ; 
,  with  its  vaulted  roof 
gallery  (the  Verone) 
them  with  fine  reliefs 


>t  Donatelio. 

lere  collected 


Many 
beside 


VIII.] 


THE  BARGELLk^ 


ao9 


them  arc  placed  for  comparison  casts  from  Donatello's  work 
in  other  cities,  such  as  the  equestrian  statue  of  Gattamelata 
at  I'adua,  etc.  Among  the  originals,  the  most  important 
and  interesting  are  :  L  wall,  the  Marzocco,  or  lion  holding 
the  Florentine  lily,  which  long  stood  in  front  of  the  Falazzo 
Vecchio,  but  is  now  replaced  by  a  ropy. 

Centre  of  the  room,  L  :  *the  Uavid,  in  bronze,  a  fine  but 
rather  early  work,  when  the  master  had  not  yet  arrived  at 
his  final  conceptions  of  plastic  beauty.  The  pose  is  a  little 
too  self-conscious  ;  the  young  victor  places  his  foot  too 
proudly  on  the  head  of  Goliath  ;  and  the  shepherd's  hat 
shades  the  face  ungracefully  :  but  the  nude  is  good,  and  the 
work  is  still  most  original  and  charming.  Note  how  this 
subject  of  David  colours  Tuscan  sculpture  of  the  Renais- 
sance. Fine  relief  on  Goliath's  helmet— representing  Victory. 
K,  an  Amorino,  also  in  bronze,  with  the  open  mouth  and 
pose  of  the  hands  so  characteristic  of  the  sculptor. 

Wall  opposite  the  entrance  ;  beautiful  bronze  bust  of  a 
young  man,  with  exquisite  cameo  of  Victory.  Near  it, 
*♦  charming  relief  of  an  open-mouthed  young  St.  John  the 
Baptist.  Close  by,  ^coloured  bust  of  Niccolo  da  Uzzano, 
powerful,  but  unpleasantly  realistic.  Then,  the  penitent  St. 
John  Baptist  in  the  desert,  a  work  which  should  be  com- 
pared with  the  wooden  Magdalen  of  the  same  type  in  the 
Baptistery.  Recollect  that  here  Donatel  is  not  aiming  at 
pure  plastic  effect,  —  certainly  not  at  beauty  —  but  is 
endeavouring  to  realise  an  ascetic  ideal  in  accordance  with 
the  needs  and  aims  of  sculpture.  In  both  these  St.  Johns, 
the  parted  lips  are  highly  characteristic.  Compare  with  the 
plaster  casts  of  two  others,  at  the  base  of  the  Gattamelata 
statue ;  also  with  the  older  type  by  the  first  R  window.  End 
wall,  the  original  **St.  George,  from  Or  San  Michele,  now 
replaced  by  a  copy.  This  is  a  very  noble  realisation  of  the 
soldier  saint,  the  ideal  of  chivalry,  remarkable  for  its  mingled 
valour  and  purity.  Observe  how  brave  and  bold,  and  yet 
how  modest.  In  this  work,  Donatelio  first  knew  himself. 
Beneath,  is  a  lelief  of  St.  George  and  the  Dragon,  with  the 
exposed  princess,  a  charming  figure,  looking  on  in  the  back- 

o 


aio 


FLORENCE 


[vill. 


ground.  Thin  la«t  little  work  may  well  b«  rompareii  with 
the  Michel  Colombe  in  the  Louvre,  ai  repreientative  of 
Italian  us  opposed  to  French  feeling.  Compare  It  alto  with 
the  plaster  cast  beneath  the  Deposition. 

Entrance  wall,  David  with  the  head  of  Goliath,  in 
marble— a  tine  early  work  whose  face  should  be  compared 
with  that  of  the  St.  George.  In  the  attitude,  which  is  grace- 
ful, there  is  a  little  too  much  of  conscious  jauntiness.  Later, 
Don.'ilello  attains  to  more  modest  rouraj^e.  Close  by,  bust 
of  Genevra  Cavalcanti,  in  bronze,  a  successful  rendering  of 
an  unattractive  personaf^e.  All  the  casts  and  originals  in 
this  room  should  be  carefully  compared  with  originals  else- 
where in  Florence.  Nowhere  else  in  the  world  does  so 
good  an  opportunity  exist  for  becoming  acquainted  with  the 
style  and  spirit  of  this  prince  of  early  Renaissance  sculpture. 
Compare  particularly  all  the  St.  Johns,  young  and  old  :  and 
note  that  some  of  the  former  are  the  boy  ascetic  in  the 
desert,  while  others  are  just  the  joyous  young  patron  of 
Florence.  These  two  boyish  figures,  St.  John  Baptist  and 
David,  lie  at  the  xooi  of  Renaissanr;  sculpture  in  Tus- 
cany. 

The  Second  Hall,  very  dark,  contains  chiefly  tapestries. 

The 

Third  Hall, 

once  the  Audience  Chamber  of  the  Podesta,  has  a  collection 
of  bronzes,  pictures,  and  small  decorative  objects  (the 
Carrand  Col'oction)  impossible  to  enumerate  in  close  detail, 
though  many  of  them  deserve  the  greatest  attention.  It 
was  given  by  a  French  benefactor,  and  is  quite  as  largely 
French  as  Florentine.  Entrance  wall,  fragment  of  the 
School  cf  Taddeo  Gaddi,  with  St.  Michel  the  Archangel 
and  St.  Catherine.  Above  it,  a  quaint  Judgment  of  Paris. 
Higher  still,  early  r  ample  of  the  Florentine  group  of  the 
Madonna  with  St.  John  the  Baptist.  The  opposite  side  of 
the  door  has  several  interesting  pictures,  (Coronation  of  the 
Virgin,  Christ  and  the  Magdalen,  Decollation  of  a  Saint, 
and  a  charming  triptych  with  Madonna  and  Child  and 
Florentine  saints,   reminiscent  or  prophetic    of   Filippino 


[Vlll. 

b«  compared  with 
Li  repreientative  of 
lomparc  it  alio  with 

ead  of  Goliath,  in 

hould  be  compared 

tide,  which  it  grace- 

Jauntineis.     Later, 

Ke.     Ciote  by,  bust 

ceisful  rendering  of 

sti  and  originals  in 

with  originals  else- 

the  world  does  so 

.'i(:(|uainted  with  the 

enaissance  sculpture. 

young  and  old  :  and 

e  boy  ascetic  in  the 

ous  young  patron  of 

St.  John  Daptist  and 

';   sculpture  in  Tus- 

ns  chiefly  tapestries. 


desta,  has  a  collection 
:orative  objects  (the 
merate  in  close  detail, 
greatest  attention.  It 
nd  is  quite  as  largely 
irall,  fragment  of  the 
Vlichel  the  Archangel 
It  Judgment  of  Paris, 
irentine  group  of  the 
The  opposite  side  of 
es,  (Coronation  of  the 
tecoUation  of  a  Saint, 
lonna  and  Child  and 
ophetic    of    Fllippino 


rni.] 


THE   DARGF.LLO 


:ti 


Lippi.)    The  Noli  me  tangere,  St.   Veronica's  towel,  and 
others,  are  well  worth  notice. 

The  flmt  caae  contains  bronies  of  the  Renaissance  and 
earlier,  including,  end,  a  grotesque  Old  French  St.  George 
and  the  Dragon,  with  other  quaint  equestrian  figures.  On 
the  side  towards  the  wmdow,  beautiful  Rennissance  bronies : 
Hercules  .ind  Antaeus,  Plenty,  Pomona,  a  Satyr,  mostly 
by  RIccio,  a  be.iutiful  Amorino,  an  affected  i6th  cent. 
Venetian  Fortuna,  a  fine  Mars,  Hercules,  etc.  I  do  not 
enumerate  these,  or  the  works  on  the  window  wall  opposite 
them,  (among  which  note  a  very  ((uaint  Marriage  of  St. 
Catherine,)  but  all  deserve  detailed  infpection.  R  wall, 
further  on,  exquisite  F'lcmish  panels,  Annunciation,  Adora- 
tion of  the  Magi,  Presentation,  etc.,  etc.  Among  them, 
Hugo  Van  der  Goes,  a  good  Madonna.  Next  c««e,  centre, 
early  mosaics,  Limoges,  and  otherwise.  Fine  crosier  648  ; 
649,  admirable  San  Marziale ;  650,  reliquary,  with  the 
Maries  at  the  Sepulchre.  654,  Another,  with  saints  and 
angels.  667,  The  four  Evangelists  with  their  symbols. 
Good  crucifix.  Madonnas,  etc.  I  leave  these  to  their  labels. 
At  the  opposite  side,  fine  German  Flagellation.  All  need 
close  inspection.  The  third  case  contains  exquisite  ivories, 
which  must  be  similarly  examined  by  the  spectator  in  detail. 
L  side,  175,  quaint  group  of  Mercury  and  Polymela,  with 
Venis  and  Adonis.  164,  Triumph  of  Love.  Heneath, 
combs,  etc.,  very  curious  :  identify  thei<-  subjects.  1 54, 
Quaint  Meeting  of  Joachim  and  Anna  at  the  Golden  Gate, 
with  Stem  of  Jesse;  French  art  of  the  15th  cent  153, 
Characteristic  Burgundian  St.  Catherine,  trampling  on  her 
persecutor,  of  a  type  which  will  be  familiar  to  visitors  to  the 
Louvre.  97  and  98,  Delicious  Lombard  14th  cent,  diptych, 
with  the  Nativity,  Annunciation,  Visitation,  Adoration  of 
the  Magi,  and  their  visit  to  Herod.  Note  this  closely. 
Beside  it,  123,  charming  French  casket,  subjects  amply 
described  on  labels.  99,  French  diptych,  with  scenes  from 
the  life  of  Christ,  all  obvious  except  the  top  R  hand  compart- 
ment, which  has  the  common  French  subject  of  the  Last 
Judgment,  with  Resurrection  beneath  and  Christ  enthroned 


MUMB 


212 


FLORENCE 


[VIII. 


above  between  angels  holding  the  instruments  of  the  Passion, 
with  the  Madonna  and  St.  John  (or  Sainte  Genevieve?) 
kneeling  on  either  side  of  him  :  this  is  exactly  like  the 
tympanum  of  Notre  Dame  and  the  Sainte  Chapelle.  95 
r.nd  96,  Similar  early  French  diptych,  including  Coronation 
of  the  Virgin.  Notice  the  regal  and  affected  French  type 
of  Madonna.  I  mention  a  few  only  of  these  beautilul  works, 
but  the  visitor  should  inspect  and  identify  each  separately. 
Opposite  side,  60  and  61,  early  French  chessmen,  kings.  26, 
Italo-Byzantine  casket,  with  antique  subjects.  Above  it, 
93,  quaint  French  Annunciation.  91  and  92,  French 
Madonnas.  The  type  will  be  familiar  again  to  visitors  to 
Cluny  and  the  Louvre.  Beneath  it,  42,  exquisite  early 
German  altar- front,  nth  century.  24,  Beautiful  Byzantine 
8th  century  figure  of  the  Empress  Irene.  19,  20, 21,  Roman 
works  of  the  intermediate  period  between  the  classical  and 
the  Byzantine  or  Romanesque  art.  All  these  should  be 
closely  studied  :  the  Adam  in  Paradise,  naming  the  beasts, 
is  extremely  luminous.  Inspect  also  the  little  panels  beneath 
them.  35,  The  Maries  at  the  Sepulchre,  is  particularly 
interesting.  In  some  of  these  works,  such  as  35,  37,  and 
38,  we  get  early  forms  of  subjects  afterwards  convention- 
alised by  Christian  art.  Search  in  these  for  the  springs  of 
later  motives. 
The  Last  Ca«e  contains  arms  and  armour.  .:'v 

The  door  at  the  end  has  an  early  (14th  cent.)  coloured 
relief  of  the  Madonna  and  Child,  adored  by  a  Podestk,  in 
the  lunette ; — the  Authorities  of  Florence  bowing  to  Religion. 
It  gives  access  to  Hall  Four,  the  ,-1  ^;  ^;        ;  iV;  v^^ 

Ancient  Chapel, 
dedicated  to  St.  Mary  Magdalen.  The  walls  are  covered 
with  sadly  damaged  frescoes,  now  scarcely  discerniMe.  End 
wall,  (with  window  representing  St.  John  the  Baptist,) 
fresco  of  Paradise,  attributed  to  Giotto  (more  likely  a  pupil), 
like  Andrea  Orcagna's  fresco  of  the  same  scene  in  the 
Strozzi  chapel  at  Santa  Maria  .N  ovella.  This  is  interesting 
to  most  people  chiefly  because  of  the  (over-restored)  figure 
of  Dante  to  the  R  of  the  window  below.   But  the  work  itself 


'k 


tmftrKm&i\j.m<it>»tilt)lmui\  I'lm  ifcWWrtaiMi 


"HBmmmem- 


[VIII. 

ents  of  the  Passion, 

Sainte   Genevieve  ?) 

is  exactly  like  the 

ainte  Chapelle.    95 

Deluding  Coronation 

ffected  French  type 

hese  beautilul  works, 

Itify  each  separately. 

hessmen,  kings.    26, 

subjects.      Above  it, 

91   and  92,    French 

again  to  visitors  to 

42,  exquisite  early 

Beautiful  Byzantine 

e.     19,  20, 21,  Roman 

en  the  classical  and 

All  these  should  be 

e,  naming  the  beasts, 

le  little  panels  beneath 

ulchre,  is  particularly 

,  such  as  35,  37,  and 

ifterwards  convention- 

bese  for  the  springs  of 

armour. 

r  (14th  cent.)  coloured 
iored  by  a  Podest^  in 
nee  bowing  to  Religion. 

The  walls  are  covered 
rcely  discernible.  End 
3t.  John  the  Baptist,) 
:o  (more  likely  a  pupil), 
he  same  scene  in  the 
a.  This  is  interesting 
le  (over-restored)  iigure 
)w.   B'U  the  work  itself 


vm.] 


M 


THE  BARGELLO 


213 


iMMa 


has  also  high  artistic  value.  The  R  wall  has  frescoes  from 
the  Life  of  St.  Mary  Magdalen,  the  dedicatory  saint.  Only 
a  few  figures  of  the  frescoes  can  now  be  recognised.  But  the 
series  once  ran  thus,  and  can  still  be  identified  on  bright 
days,  beginning  at  the  top  to  the  L.  (i)  The  Magdalen  at 
the  feast  in  the  house  of  Levi :  (2)  Raising  of  Lazarus  :  (3) 
entirely  gone,  Magdalen  at  the  Crucifixion  :  (4)  the  Maries 
at  the  Sepulchre:  (5)  Christ  and  the  Magdalen  in  the 
Garden  ;  (6)  the  Angel  feeding  the  Magdalen  in  the  Cave  in 
Provence  :  (7)  St.  Maximin  bringing  her  the  last  sacrament: 
(8)  the  death  of  the  Magdalen.  (I  can  find  no  trace  of  the 
sister  subject,  St.  Mary  of  Egypt,  mentioned  in  many 
Guide-books :  the  opposite  wall  has  the  miracle  of  the 
Merchant  of  Marseilles,  as  at  Santa  Croce.) 

L  of  the  empty  space  once  occupied  by  the  altar,  St. 
Jerome  in  the  desert.  R  of  it,  Madonna  and  Child,  by  a 
scholar  of  Ghirlandajo.  The  case  between  contains  fine 
articles  of  Church  furniture,  including  a  Last  Supper,  with 
Christ  washing  the  feet  of  Peter.  The  room  also  contains 
other  interesting  objects:  Madonna  and  Child  in  painted 
wood  by  Dello  Delli  (?) :  Crucifix  with  the  lamb  of  St.  John 
Baptist  in  the  centre  at  the  back ;  and  a  few  old  mosaics. 

The  small  room  beyond  the  chapel  has  an  early  fresco 

of  the  Madonna  and  Child,  a  good  vaulted  roof,  and  several 

interesting  bits  of  early  needlework,  the  subjects  on  which 

should  be  carefully  noted.    On  the  entrance  wall,  the  angels 

.  lifting  the  Magdalen  in  the  desert. 

The  next  room,  ■   ' 

Fifth  Hall, 
to  the  R,  contains  on  the  end  wall  (avoid  it)  some  ghastly 
illustrations  of  the  plague,  and  other  works  of  a  similar 
c'^-'racter,  in  coloured  wax.  The  centre  case  has  ivories 
of  later  dates,  some  of  them  excellent  in  execution,  but 
uninteresting  for  the  most  part  in  design  and  treatment. 
The  best  are  two  St.  Sebastians,  probably  votive  plague- 
offerings.  In  the  centre  is  a  fine  early  triptych,  with  saints 
(all  easily  recognised)  and  scenes  from  the  Passion.  A  few 
early  works  at  the  further  end  of  the  case  also  deserve  close 


w^ 


wr 


■!«MI«« 


214 


FLORENCE 


[VIII. 


attention.  Centre  C6«e,  «,'as5,  which  examine  individually. 
To  the  R,  Limoges  enamels.  To  the  L,  nautilus  shells, 
mounted  as  jugs  and  vases.  Next  case,  ivor'  works, 
oriental  and  other,  which  are  merely  ingenious  «nd  nothing 
more.  The  taste  of  most  of  them  is  execrable.  Last  ca«e, 
fine  silver  work.  Observe  in  all  these  rooms  the  fine 
ceilings,  frescoes,  and  internal  decorations.  As  at  Cluny, 
but  even  more  so,  the  building  itself  is  here  one  of  the 
best  parts  of  the  museum. 
The  next  room, 

Sixth  Hall, 
contains  bronzes,  reliefs,  and  statues  01  the  early  Renais- 
sance.   All  these  deserve  the  closest  attention.     R  of  the 
door,  St.  John  Baptist  in  the  Desert,  by  Michelozzo,  an  early 
example  of  the  comparative  abandonment  of  the  merely  as- 
cetic ideal.    Compare  and  bear  in  mind  all  these  various 
Baptists  :  their  importance  is  fundamental.     R  of  the  door, 
fine  bas-relief  by  Bertoldo,  of  a  battle  between  Romans  and 
barbarians,  inspired  by  the  antique,  and  full  of  classical  feel- 
ing.   The  Victories  and  nude  figures  to  R  and  L  are  especi- 
ally admirable.    Above  it,  good  bust  of  the  Duke  of  Urbino. 
Beneath,  *Reliquary  of  St.  Protus  and  St.  Hyacinthus,  by 
Lorenzo  Ghiberti ;  fine  flying  angels.    The  case,  beyond, 
contains  fine  imitation  antique  and  Renaissance  statuettes. 
In  the  centre  of  the  room,  **Verrocchio's  beautiful  bronze 
David  with  the  head  of  Goliath,  one  of  its  sculptor's  master- 
pieces.    The  head  foreshadows  Leonardo  :    the  curls  are 
delicious  :  the  easy  assured  pose  may  be  compared  or  con- 
trasted with  the  Donatello  and  the  Michael  Angelo.    The 
thin  veined  arms,  however,  (perhaps  of  an  apprentice  model) 
are  evidently  influenced  by  the  ascetic  mediaeval  ideal :  com- 
pare the  figures  in  Verrocchio's  (painted)  Baptism  of  Christ 
in  the  Belle  Arti.    The  whole  attitude  of  this  David,  in  spite 
of  its  meagre  limbs,  is  striking  and  graceful.    This  work 
should  be  looked  at  in  contrast  with  Donatello  on  the  one 
hand  and  with  Michael  Angelo  and  Benvenuto  Cellini  on  the 

other. 
End  wall  **two  gilt  bronze  panels,  the  sacrifice  of  Isaac 


!m««!*wtcwisffl-f!.-V!Sia!!!«SSBiiSBS8»< 


[vm. 


line  individually. 

nautilus  shells, 

|ise,   ivoP'  works, 

lious  ^nd  nothing 

|-able.    Last  cue, 

|e  rooms  the  fine 

Ins.    As  at  Cluny, 

here  one  of  the 


the  early  Renais- 

tention.     R  of  the 

lichelozzo,  an  early 

t  of  the  merely  as- 

d  all  these  various 

tal.    R  of  the  door, 

etween  Romans  and 

full  of  classical  feel- 

R  and  L  are  especi- 

the  Duke  of  Urbino. 

St.  Hyacinthus,  by 

The  case,  beyond, 

naissance  statuettes. 

lio's  beautiful  bronze 

its  sculptor's  master- 

ardo  :    the  curls  are 

De  compared  or  con- 

ichael  Angelo.    The 

an  apprentice  model) 

nediseval  ideal :  com- 

id)  Baptism  of  Christ 

>fthis  David,  in  spite 

graceful.    This  work 

Donatello  on  the  one 

ivenuto  Cellini  on  the 

the  sacrifice  of  Isaac 


n<9d(^t°s0BeSNse(K3^«nE:ss^^ 


VIII.] 


mm 


THE  BARGELLO 


215 


by  ♦Brunelleschi  and  *»Ghiberti  respectively.  These  were 
the  panels  which  were  sent  in  by  the  two  artists  as  speci- ' 
mens  of  their  handiwork  in  the  competition  for  the  Second 
Gates  of  the  Baptistery  in  1402.  The  superiority  of  Ghiberti's 
design  in  composition  and  plastic  calm  is  very  apparent. 
At  the  same  time,  the  elements  of  conventional  treatment 
common  to  the  two  scenes  are  worth  close  comparison.  The 
positions  of  most  of  the  actors  and  accessories  are  fairly  con- 
stant. Observe  the  quiet  strength  and  repose  of  Ghiberti, 
contrasted  with  the  bustle  and  strain  of  Brunelleschi.  One 
is  like  a  sculptor's  work,  the  other  like  an  engineer's. 

Beneath  these,  Lorenzo  Vecchietta's  fine  *recumbent  statue 
for  a  tomb,  in  which  a  successful  attempt  is  made  to  put 
greater  naturalness  into  this  type  of  monument.  Above, 
good  Crucifixion  by  Bertoldo. 

Wall  to  the  R,  Crucifixion,  by  Donatello,  partly  gilt.  AU 
the  attitudes  in  this  admirable  scene  are  worth  careful  notice. 
Observe  at  how  much  earlier  a  date  sculpture  succeeded  in 
emancipating  itself  from  conventional  trammels  than  did 
painting.  No  contemporary  picture  has  the  freedom  and 
ease  of  the  Roman  soldier  nailing  the  feet  of  the  Impenitent 
Thief ;  nor  of  the  long-haired  Magdalen  in  the  foreground  to 
the  L  ;  nor  of  the  semi-nude  figure  with  shield  beyond  it ; 
nor  of  St.  Longinus  (distinguished  by  his  halo)  with  his  hand 
to  his  mouth,  just  above  the  last-mentioned  figure.  Study 
closely  this  admirable  relief.     It  will  well  repay  you. 

The 

Seventh  Hall 

beyond,  contains  the  work  in  bronze  of  the  High  Renais- 
sance up  to  the  point  where  it  verges  towards  the  Decadence. 
Among  so  many  noble  works  as  are  contained  in  this  room, 
it  is  difficult  to  make  a  selection  :  besides,  very  few  of  them 
need  explanation.  Note,  however,  the  Ganymede  and  the 
eagle,  attributed  to  Benvenuto  Cellini,  with  its  admirable 
ease  of  poise,  and  its  perfect  equilibri..in.  (Compare 
with  similar  antiques  in  the  Uffizi.)  Also  the  Antoninus 
Pius,  which  is  a  successful  iSth  century  imitation  of  the 
antique.    Look  at  Daniele  da  Volterra's  *Bust  of  Michael 


i 


mtMsr. 


2l6 


FLORENCE 


[VIU. 


Angelo  ;  and,  dose  beside  it,  Sansovino's  Christ  in  Glory. 
In  a  glass  case  is  Cellini's  sketch  in  bronre  for  the  Perseus 
of  the  Loggia  dei  Lanii,  differing  slightly  in  detril  from  the 
mode!  finally  adopted.  Beside  it,  admirably  executed  but  not 
pleasing  bust  of  Cosimo  I,  a  subject  to  try  the  greatest  sculp- 
tor. Beyond,  again,  ♦wax  model  of  the  Perseus,  differing 
much  more  markedly  from  the  form  at  last  adopted.  Further 
on,  **Cellini's  original  relief  for  the  base  of  the  Perseus,  the 
Release  of  Andromeda,  now  replaced  in  the  Loggia  by  a 
cast :  a  most  beautiful  piece  of  consummate  metal-work. 
Close  by,  fine  Venus  by  Giovanni  da  Bologna.  Also,  end 
wall,  his  Galatea,  a  successful  figure.  All  the  small  works 
on  this  wall  should  be  carefully  noted.  In  the  centre  of  the 
room,  Giovanni  da  Bologna's  celebrated  *Mercury,  too  often 
copied,  perhaps  the  lightest  work  in  bronze  ever  executed. 
Its  poise  is  wonderful.  It  seems  to  soar  naturally.  But  re- 
productions have  vulgarised  it.  Fine  bronze  candelabra  and 
other  works.  I  omit  many  fine  specimens  of  sculpture,  such 
as  the  copy  of  the  too  famous  Famese  bull.  Do  not  over- 
look the  handsome  wooden  ceiling. 

The  stairs  to  the  upper  floor  are  in  Room  V,  with  the 
late  ivories.    Go  back  to  it. 

The  first  apartment  at  which  we  arrive, 
Room  I, 
has  a  fine  timber  roof,  and  is  decorated  with  several  original 
frescoes,  those  on  the  end  wail,  L,  being  attributed  to  the 
ever-dubious  Giottino.  That  to  the  L,  a  fragment,  probably 
forms  part  of  a  Joachim  expelled  from  the  Temple  (?)  To 
the  R,  Meeting  of  Joachim  and  Anna  at  the  Golden  Gate,— 
only  Joachim  and  the  two  servants  with  the  rejected  offering 
remaining.  Compare  with  other  frescoes  of  corresponding 
scenes,  and  you  will  be  able  to  judge  of  these  identifications. 
Centre,  Madonna  and  Child,  with  Florentine  saints,  greatly 
injured. 

The  Entrance  wall  has  beautiful  Delia  Robbia  Madon- 
nas, with  crowning  hands,  angels,  and  other  features.  Two 
of  these  are  the  favourite  subject  of  the  Madonna  Adoring 
the  Child.    The  fa:e  of  the  **central  one  is  inexpressibly 


^MMinaaMaliiiiwWtiiiiiiilKgi  iii*wiii>>»i»ir>iu»aiii 


[VI 1 1. 

Christ  in  Glory, 
e  for  the  Perseus 
in  detril  from  the 
executed  but  not 
he  greatest  sculp- 
Perseus,  differing 
adopted.   Further 
f  the  Perseus,  the 
the  Loggia  by  a 
mate  metal-work. 
>logna.    Also,  end 
11  the  small  works 
n  the  centre  of  the 
Mercury,  too  often 
ize  ever  executed, 
naturally.     But  re- 
ize  candelabra  and 
s  of  sculpture,  such 
ull.    Do  not  over- 
Room  V,  with  the 


with  several  original 
ng  attributed  to  the 
fragment,  probably 
the  Temple  (?)  To 
the  Golden  Gate, — 
the  rejected  offering 
:s  of  corresponding 
these  identifications, 
intine  saints,  greatly 

Ila  Robbia  Madon- 
ther  features.  Two 
e  Madonna  Adoring 
sne  is  inexpressibly 


Vill.] 


THE  BARGELLO 


217 


beautiful.  Beyond  the  door,  Madonna  supporting  the  dead 
Christ,  by  Ghirlandajo,  a  fine  fresco.  Further  on,  fresco 
of  justice,  between  two  suitors,  attributed  to  Rossi. 
Beyond  the  window.  Madonna  and  draped  Child,  of  the 
later  School  of  Giotto. 

End  wall,  more  Delia  Robbias.  Above,  by  Giovanni, 
Christ  and  the  woman  of  Samaria.  Beneath,  by  Andrea 
and  Luca,  Madonna  and  Child.  In  the  earlier  type,  (Luca 
and  Andrea)  the  figures  are  usually  white  on  a  blue  ground : 
later  works  of  the  same  school  (Giovanni,  etc.)  such  as  the 
Christ  and  the  Woman  of  Samaria  above,  are  in  polychrome, 
and  less  pleasing. 

L  wall,  returning,  Christ  and  the  Magdalen  in  the  garden, 
of  the  later  period.  Beneath,  in  the  predella,  St.  Francis 
receiving  the  stigmata  (compare  with  pictures),  the  Resur- 
rection, and  the  Maries  at  the  Tomb.  Beyond  the  window, 
more  Delia  Robbias  ;  charming  little  ^Annunciation,  good 
Ascension,  ^Madonna  adoring  the  Child  (with  delicious 
baby  St.  John  of  Florence,)  Nativity,  and  a  lunette  of  St. 
Augustin.  After  seeing  these  Delia  Robbias,  look  out  for 
similar  lunettes  and  medallions  over  the  doors  or  arcades  of 
Florentine  houses  and  churches  (Ognissanti,  Hospital  of 
San  Paolo,  Innocenti,  etc.).  Beyond  the  next  window,  again, 
Madonna  adoring  the  Child.  In  this  room  (with  the  next) 
you  have  the  best  opportunity  afforded  you  of  learning  to 
admire  and  love  the  Delia  Robbias,  especially  Luca. 

Room  11, 
at  the  far  end  of  this  one :  more  Delia  Robbia  ware,  of 
various  ages.  Over  the  door,  a  florid  Annunciation,  not  so 
successful,  somewhat  vulgar  in  its  colouring.  R  of  the  door. 
Nativity,  with  shepherds  in  the  background,  ox  and  ass, 
little  St.  John  of  Florence,  and  adoring  angels.  Notice  the 
inscriptions.  This  work  exhibits  the  declining  taste  of  the 
1 6th  century.  The  faces  of  St.  John  ahd  the  Madonna 
should  be  compared  with  the  infinitely  more  beautiful  works 
by  Luca  and  Andrea  in  the  previous  room  and  in  this  one. 
Note  in  each  case  to  which  of  the  family  each  work  is 
attributed.    The  best  are  by  Luca,  then  Andrea,  while  with 


2l8 


FLORENCE 


[vim. 


IV 


,  Giovanni  tiie  type  degenerates.  End  wall,  dainty  taber- 
nacle,  with  angels,  for  holding  the  elements.  Above  it, 
charming  Madonna.  In  the  centre,  *beautiful  lunutte  with 
delicious  angels  adoring  the  Madonna.  Beneath  it,  good 
Andrea,  circular  Madonna.  R  and  L,  charming  Lucas. 
To  the  L,  debased  Madonna  in  a  circle.  Window  wall, 
opposite  the  door,  Madonna  della  Misericordia,  crowned, 
as  usual,  and  sheltering  votaries  under  her  mantle.  (Look 
out  in  future  for  this  specialised  type  of  Our  Lady.) 
Between  the  next  windows,  Virgin  between  two  saints, 
(Anne  and  Giovanni  Gualberto)  with  donors,  by  Giovanni, 
better  than  his  wont.  Above  ii.  Deposition,  with  St.  Mary 
Magdalen  holding  her  box  of  ointment.  To  the  L,  pretty 
little  group  of  the  Infant  Christ  and  the  Boy  Baptist,  rather 
coarsely  executed.  Between  the  and  and  3rd  windows, 
St.  Joseph,  with  his  budded  statT,  and  St  Augustin.  In 
the  next  group  of  subjects  observe  again  the  Boy  Baptist 
of  Florence,  twice  repeated,  and  the  Ascension,  with  Christ 
in  a  mandorl?.  The  Coronation  of  the  Virgin,  beyond,  has 
^the  Madonna  by  Luca,  with  later  added  angels  in  the  worst 
style  of  the  family.  Between  the  5th  and  6th  windows, 
rather  theatrical  Resurrection.  Above  it,  equally  theatrical 
Christ  and  the  Magdalen.  This  again  indicates  the  declin- 
ing taste  of  the  i6th  cent.  So  do  the  Madonna  between 
two  Saints  (James,  Giovanni  Gualberto)  and  the  Miracle 
of  St.  Benedict  beyond  it.  End  wall,  ill-coloured  and 
unpieasing  late  Nativity.  Above,  St.  Ursula,  crowned  as 
princess  and  with  her  palm  of  martyrdom.  The  Christ  and 
the  Magdalen  over  the  door  is  sadly  decadent.  Returning 
along  the  other  wall,  Piet^,  unpieasing.  Between  ist  and 
and  windows,  frieze  of  Christ  and  the  Sacred  Blood,  and 
saints  in  niches,  (Sebastian,  Magdalen,  Baptist,  and 
Matthew  the  Evangelist  with  book  and  angel.  The  com- 
bination seems  to  indicate  a  votive  plague  work.)  Between 
and  and  3rd  windows,  more  pleasing  examples :  Madonnas 
adoring  and  otherwise  ;  good  St.  Catherine ;  dainty  Boy 
Baptist ;  and  good  portrait  of  a  lady.  The  support  of  the 
central  Madonna,  by  Francesco  di  Simone,  (with  the  face 


iti^KtsasisssKK^mumm 


"teKtmammmm^imimKlmKm' 


[VIII. 

II,   dainty  taber- 

ents.     Above  it, 

tiful  lunutte  with 

Beneath  it,  good 

charming  Lucas. 

Window  wall, 

jricordia,  crowned, 

er  mantle.    (Look 

of  Our  Lady.) 

ween    two   saints, 

nors,  by  Giovanni, 

on,  with  St.  Mary 

To  the  L,  pretty 

Boy  Baptist,  rather 

and  3rd  windows, 

St.  Augustin.     In 

in  the  Boy  Baptist 

cension,  with  Christ 

Virgin,  beyond,  has 

1  angels  in  the  worst 

and  6th  windows, 

it,  equally  theatrical 

ndicates  the  declin- 

e  Madonna  between 

to)  and  the  Miracle 

all,  ill-coloured  and 

Ursula,  crowned  as 

>m.    The  Christ  and 

ecadent.    Returning 

g.     Between  ist  and 

Sacred  Blood,  and 

alen.     Baptist,    and 

d  angel.    The  com- 

jue  work.)    Between 

xamples:  Madonnas 

therine ;  dainty  Boy 

The  support  of  the 

(none,  (with  the  face 


iP 


VIII.] 


THE  BARGELLO 


219 


of  Christ  on  St.  Veronica's  towel,  and  charming  cherubs)  is 
worth  notice.  In  the  cintro  are  specimens  of  fine  Italian 
ware  of  the  isth  and  i6th  centuries.  The  subjects  and 
decorations  of  many  of  these  are  well  worth  notice. 

Room  111, 

below  the  steps,  very  dark,  contains  tapestries  and  glass. 
On  the  entrance  wall,  three  beautiful  coloured  Madonnas. 
Near  the  window,  another.  These  charming  works  need  no 
explanation,  but  should  all  be  noticed  for  their  truth  and 
beauty. 
Now  traverse  again  Rooms  II  and  I,  and  arrive  at 

Room  IV, 

at  the  end,  containing  Sculpture,  chiefly  of  the  earlier 
Renaissance. 

R  of  the  door,  Orcagna  (?),  Music,  on  a  beautiful  twisted 
column,  recalling  those  in  Or  San  Michele.  The  figure  is 
one  of  Orcagna's  ideal  representations,  and  very  charming. 

Over  the  door,  late  Delia  Robbia.  Beyond  the  door, 
teiTa-cottas.  Observe  here,  once  more,  the  dominant  in- 
fluence of  the  youthful  St.  John  Baptist,  who  colours  so 
much  of  Florentine  Renaissance  ideals.  ^Beautiful  little 
statuette  by  Michelozzo  of  the  Boy  Baptist  starting  for  the 
Desert.  Observe  the  difference  between  this  subject  and 
St.  John  in  the  Desert.  *Statuette,  by  an  unknown  Floren- 
tine of  the  i6th  cent.,  of  the  young  Baptist  as  a  recluse ; 
the  alternative  treatment.  Beyond  it,  baby  St.  John,  with 
his  mouth  open.  Another  by  Rossellino,  much  injured. 
On  the  same  wall  are  two  Penitent  St.  Jeromes  (note  the 
lion),  companions  to  the  St.  Johns  and  Magdalens  \  as  well 
as  copies  in  terra-cotta  by  Niccol6  Tribolo  of  Michael 
Angelo's  Night,  Dawn,  etc.,  in  the  New  Sacristy  at  San 
Lorenzo.  Note  likewise  a  good  head  of  *Piero  de'  Medici, 
by  Verrocchio,  and  other  portrait  works.    ' 

L  wall.  Below,  very  quaint  early  Christian  sarcophagus 
(of  the  4tb  cent)  with  a  slight  oriental  tinge  in  its 
sculpture.  L  compartment,  Jonah  cast  out  by  the  sailors. 
R  compartment,  Jonah  returned  to  land  by  the  whale. 


'I 


(  'hi 


1 


«? 


fe 


"MO 


FLORENCE 


[VIII. 


(Same  subject  on  an  ambo  at  Ravcllo.)  Notice  the  corner 
faces,  with  caps  recalling  the  Mitkra  reliefs.  Above,  bust 
by  Rossellino  ;  curious  early  Tuscan  Crucifixi^^n,  with  St. 
John  and  the  Madonna  ;  Madonna  and  angel  ;  Mndonna 
and  Child,  by  Alberto  d'Arnoldo  ;  and  a  quaint  early  relief 
of  San  Frediano  of  Lucca.  *Good  portrait  bu3t  by  Bene- 
detto da  Maiano.  Higher  up,  School  of  Andrea  Pisano, 
Madonna  and  Child,  between  patron  saints  of  Florence  ; 
L,  Santa  Reparata,  with  her  red-cross  flag  ;  R,  St.  John 
Baptist. 

Window  wall.  Sepulchral  figure  of  a  bishop,  flanked 
on  either  side  by  niave  Romanesque  reliefs  of  Christ  and 
St.  Benedict,  and  the  Call  of  Peter  and  Andrew.  Above 
them,  *Apostles,  of  the  school  of  Andrea  Pisano, 

R  wall.  *Life-like  bust,  by  Rossellino,  of  Francesco 
Sassetti,  full  of  character.  To  balance  it,  *bust  of  an 
unknown  isth  century  Florentine,  with  thick  under  lip, 
instinct  with  keen  penetration.  Sculptor  unknown.  Between 
them,  ♦*fine  relief  by  Verrocchio,  from  the  tomb  of  Fran- 
cesca  Pitti  Tomabuoni,  the  only  one  now  remaining  of 
this  fine  series.  The  treatment  is  thoroughly  antique.  The 
figures  represent,  R,  the  death  of  Francesca  in  childbirth, 
with  attendants  mourning  and  tearing  their  hair.  To  th^ 
extreme  R,  the  new-bom  infant.  L,  the  child  brought  by 
its  nurse  to  the  widowed  father.  This  is  one  of  the 
earliest  examples  of  such  entirely  classical  and  almost 
pagan  treatment,  which  culminates  in  the  frank  paganism 
of  Riccio's  fine  bronzes  in  the  Louvre.  Above,  ♦charming 
Virgin  and  Child,  of  the  School  of  Verrocchio.  Another, 
with  a  curious  head-dress,  by  Rossellino.  Also  three  admir- 
able portrait-reliefs,  sufficiently  described  on  their  labels. 
That  of  ^Francesco  Sforza  is  full  of  character. 

Room  V 
contains  wor'  In  marble  of  the  High  Renaissance. 
Entrance  wall,  L  of  door  :  fine  bust  of  a  Florentine  lady. 
L  wall,  charming  little  St.  John,  starting  for  the  Desert, 
by  Rossellino.  Note  again  the  marked  difference  of  attitude 
between  a  St.  John  setting  out  and  a  St  John  in  the  desert. 


[vni. 

iNotice  the  corner 
liefs.  Above,  butt 
[ucitixi'^n,  with  St 
angel  ;  Madonna 
J  quaint  early  relief 
(rait  bu3t  by  Bene- 
|of  Andrea  Pisano, 
lints  of  Florence  ; 
flag  ;  R,  St.  John 

■  a  bishop,  flanked 
tliefs  of  Christ  and 
id  Andrew.  Above 
a  Pisano. 

Ilino,  of  Francesco 
ice  it,  *bust  of  an 
th  thick  under  lip, 
unknown.  Between 
I  the  tomb  of  Fran- 
;  now  remaining  of 
lughly  antique.  The 
ncesca  in  childbirth, 
;  their  hair.  To  th' 
;he  child  brought  by 
This  is  one  of  the 
classical  and  almost 
1  the  frank  paganism 
!,  Above,  *charming 
^errocchio.  Another, 
10.  Also  three  admir- 
ibed  on  their  labels, 
laracter. 

High    Renaissance. 

of  a  Florentine  lady, 
irting  for  the  Desert, 
i  difTerence  of  attitude 
St.  John  in  the  desert. 


VIII.J 


THE  BARGELLO 


331 


*Virgin  and  Child,  by  Verrocchio.  Half-length  portrait- 
statue  of  a  lady,  by  the  same.  Relief  of  Faith,  by  Matteo 
Civitalc.  Above,  two  apostles  of  the  school  of  Andrea 
Pisano.  Further  on,  a  '^dainty  bust  of  a  child,  by  an 
unknown  15th  cent.  Florentine.  Above  it,  *candela- 
brum,  one  of  a  pair  by  Benedetto  da  Maiano,  decorative 
work  and  children  in  his  most  charming  manner.  Centre 
of  wall,  round  relief  of  *the  Madonna  adoring  the  Child, 
by  Rossellino,  with  shed,  ox  and  ass,  St.  Joseph,  shepherds, 
etc.,  and  a  delicious  ring  of  baby  cherubs.  Beyond,  young 
St.  John,  by  the  same,  intermediate  between  the  ascetic 
and  later  joyous  treatment.  ^Virgin  and  Child,  with  gilt 
background,  by  Mino  da  Fiesole.  Near  it,  another,  closely 
resembling  it  in  type,  by  a  scholar  of  Mino,  in  a  delicate 
frame  of  pittra  serena.  Portrait-bust  by  Desiderio  da 
Settignano.  Exquisite  little  ^tabernacle  for  the  elements 
of  the  Eucharist,  with  troops  of  guardian  angels,  somewhat 
marred  by  unpleasant  perspective.  Close  by,  Mino  da 
Fiesole's  little  Cupid,  fur  a  fountain. 

End  wall.  Numerous  reliefs  of  the  period  verging  on 
the  Decadence.  Crucifixion  of  St.  Peter,  by  Delia  Robbia, 
very  much  injured.  Justice,  by  Benedetto  da  Maiano.  The 
other  works,  including  the  Liberation  of  Peter,  by  Luca 
della  Robbia,  explam  themselves  or  are  explained  by  their 
labels. 

Window  wall.  Rather  coarse  early  Florentine  Corona- 
tion of  Charlemagne,  partly  restored  in  plaster.  Beyond  it, 
a  Tabernacle,  by  Mino  da  Fiesole,  architecturally  very 
pretty. 

In  the  centre,  Michael  Angelo's  unfinished  David  (or 
Apollo  ;)  a  *young  St.  John,  by  Benedetto  da  Maiano  ;  and 
a  Bacchus,  by  Jacopo  Sansovino,  which  is  really  its  pagan 
Renaissance  equivalent.  (How  readily  the  one  passes  into 
the  other  is  well  shown  by  the  Leonardo  in  the  Louvre.) 

Entrance  wall,  again,  *three  good  portrait-busts  and 
charming  Madonna  and  Child,  by  Mino  da  Fiesole.  The 
bust  of  •Piero  de'  Medici,  (nearest  the  window)  with  the 
swollen  look,  is  admirable  and  life-like.    His  imitation  of 


333 


FLORENCE 


[VIU. 


the  antique,  in  the  young  Marcu*  Aureliui,  may  be  com- 
pared  with  the  St.  John  Baptist  and  the  Bacchus. 

I  have  said  little  of  these  works,  again,  merely  because 
they  do  not  need  explanation.  What  they  most  require  is 
appreciative  study.     Observe  in  this  hall  the  fine  wooden 

"'""«•  Room  VI  ,. 

has  a  good  collection  of  seals,  and  some  singularly  ugly 

Gobelins  tapestry. 


fsea^miKiOK'i' 


[VIIl. 

lus,  may  be  com- 
lacchus. 

1,  merely  because 

|y  most  require  is 

the  fine  wooden 


ie  singularly  ugly 


1^1 


IX  .'  -':    . 

OR  SAN   MICHELE  • 

r  T  T  ALF-WAY  down  the  Via  CaUaioli,  on  the  right,  as 
L  11  you  go  towards  the  Signoria,  stood  at  the  end  of 
the  13th  century  a  market  or  loggia  of  somewhat  the  same 
type  as  that  still  to  be  seen  in  che  Mercato  Nuovo.  It  was 
covered  with  a  vaulted  roof,  supportin<-^  a  granary  (horreum), 
with  a  much-revered  statue  of  Our  Li  dy,  and  another  of  the 
Archangel  Michael  :  whence  the  existing  name,  Or  San 
MIchele,  or  "Granary  of  St  Michael."  In  1350,  the 
original  loggia  was  altered  into  a  church,  preserving  much 
the  same  shape,  and  with  a  strong  vaulted  roof,  raised  on 
powerful  piers,  so  as  to  support  the  great  grain  loft  in  two 
stones  above  it.  This  church  was  in  particular  the  Shrln« 
of  the  Trades,  and,  above  all  of  the  Arts  and  Crafts  of 
Florenrt.  It  stood  close  to  the  Palazzo  Vecchio,  or  Palace 
of  th';  Signoria— that  is  to  say  of  the  Guilds  which  had 
practically  usurped  the  government  of  the  city. 

In  the  great  plague  of  1348,  Florence  suffered  terribly. 
Many  persons  who  had  lost  all  their  relatives  in  the  pesti- 
lence, dying  themselves,  left  their  fortunes  to  a  certain 
miraculous  picture  of  Our  Lady  (by  Ugolino  da  Siena)  in 
Or  San  Michele,  which  was  greatly  venerated.  After  the 
plague,  again,  several  survivors  also  made  rich  thank-offer- 
ings for  their  preservation  to  the  same  Madonna.  The  sum 
thus  accumulated  was  so  enormous  that  the  Company  of 
Or  San  Michele  commissioned  Andrea  Orcagna  to  build 
with  it  a  costly  shrine  ur  tabernacle  for  the  picture,  which 
still  remains  one  of  the  most  splendid  works  of  art  to  be 
seen  in  Florence.] 


«Ba 


JSMSSiimvismmM 


■•"!« 


334 


FLORENCE 


[IX 


If  poitible,  choose  a  Thursday  for  this  excursion :  it  if 
the  day  of  the  flower-market,  when  the  Morcato  Nuovo 
is  seen  to  the  greatest  picturesque  advanta|{e.  Turn  out 
of  the  Via  Tornabuoni,  along  the  Via  Furta  Kossa,  as  far 
as  the  Mercato  Nuovo.  Observe  its  architecture,  which, 
though  much  later  in  date,  ( 1 5 1 4)  will  help  you  to  under- 
stand that  of  Ur  San  Michele.  Then  continue  on  into  the 
Via  Calzaioli,  and  go  to  Or  San  Michele  itself,  which 
stands  on  your  L  hand,  looking  less  like  a  church  than  a 
square  (or  rather  oblong)  three-storied  warehouse,— as  in 
point  of  fact  it  was,  save  for  its  ground  floor.  Notice,  first, 
the  beautiful  architecture  of  this  ground  floor— the  church 
proper,— and  then  the  windows  and  cornices  of  the  granary 
above  it.  Observe  the  conjunction  of  round  arches  with 
Gothic  detail.  Walk  round  it  once  for  the  general  efTect. 
Then,  return  to  the  Via  Calzaioli,  to  examine  the  niches  and 
sculpture  in  detail  There  are  three  nichea  at  either  end, 
K.  and  w.,  and  four  on  each  side,  N.  and  s.  The  statuea  in 
the  niches  were  each  given  by  one  of  the  Guilds  of  craftsmen 
or  professions.  I  lie  arms  of  the  various  Guilds  who  gave 
them  are  in  circles  above  their  gifts. 

Begin  on  the  E.  side,  to  the  R.  ist  niche,  St.  Luke  the 
Evangelist,  by  Giovanni  da  Bologna  (1602) :  beneath  it,  his 
winged  bull.  Given  by  the  Judges  and  Notaries:  this  is 
the  latest  of  the  series.  2r  '  niche,  (itself  a  beautiful  work 
by  Donatello,  well  worthy  of  houce,)  Christ  and  the  doubting 
Thomas,  by  Verrocchio,  (i4(i3)  a  very  characteristic  example 
of  this  great  though  rather  dry  sculptor.  Given  by  the 
Merchants.  3rd  niche,  St.  John  Baptist  of  Florence,  by 
Ghiberti,  (1414)  with  a  robe  covering  his  camel-hair  garment. 
Given  by  the  Cloth  Dealers.  This  is  the  ascetic  Saint  in 
the  desert  Note  also  the  little  hgures  between  the  niches, 
and  those  on  the  summits  of  the  muUions  in  the  windows. 

S.  side.  1st  niche,  St.  John  the  Evangelist,  by  Baccio  da 
Montehipo,  (1515.)  Given  by  the  Silk  Weavers.  On  the 
niche  above,  and  in  the  circle,  the  arms  of  the  Guild.  The 
2nd  niche  once  contained  a  beautiful  medieval  Madonna 
and  Child,  now  removed  to  the  centre  ui  tne  church.    Ob- 


[a. 

excursion :  it  is 
Morcato  Nuovo 

,iKc.     Turn  out 

rta  Kosta,  at  far 

ihiteciure,  which, 

Ip  you  to  undcr- 

niie  on  into  the 

lele  itself,  which 

a  church  than  a 

warehouse,— as  in 

)()r.     Notice,  first, 

tloor— the  church 

ices  of  the  granary 

ound  arches  with 

the  general  effect. 

line  the  niches  and 

ches  at  either  end, 

s.     The  lUtucAin 

Guilds  of  craftsmen 

•  Guilds  who  gave 

niche,  St.  Luke  the 
x>2) :  beneath  it,  his 
A  Notaries  :  this  is 
self  a  beautiful  work 
ist  and  the  doubting 
laracteristic  example 
itor.      Given  by  the 
tist  of  Florence,  by 
I  camel-hair  garment, 
the  ascetic  Saint  in 
between  the  niches, 
ins  in  the  windows, 
ngelist,  by  Baccio  da 
k  Weavers.     On  the 
s  of  the  Guild.    The 
mediicval  Madonna 
oi  tne  church.    Ob- 


IX.1 


OR  SAN   MtCHELB 


aas 


»i 


serve  its  architecture.  Above  it,  charming  Madonna  and 
Child,  by  Luca  dclla  Knbbia,  in  a  dainty  tabcrnucli;.  3rd 
niche,  St.  J  limes,  by  Nanni  di  Uanco.  Given  by  the  Furriers. 
The  little  relief  below  represent:  the  decapitation  of  the 
Aiint :  ihat  above,  his  assumption.  On  either  side,  the  arms 
of  the  Company,  quartering  .ne  lamb  of  St.  John  liaplist. 
4ih  niche,  St.  Mark  the  Evangelist,  by  Donatello  (1413). 
(iiven  by  the  Joiners.  Beneath  his  feet,  liit  winged  lion. 
In  each  case  observe  the  architecture  of  the  niches. 

W.  aide.  Stand  under  the  arcbwav  which  connects  the 
church  with  the  Guildhall  of  the  Guild  of  WoolCombeis 
beside  it.  Over  the  shop  behind  you,  notice  the  O.S.M.,  for 
Or  San  Michcle,  which  you  will  observe  abundantly  on 
pictures  and  sculpture  elsewhere.  The  Guildhall,  with  its 
beautiful  wooden  canopy,  has  the  symbol  of  the  Guild,  the 
lamb  and  flag  of  St.  John,  many  times  repeated.  1:^1  niche, 
St.  Eligius  (St.  Eloy)  the  sainted  blacksmith,  by  Nanni  di 
Banco  (a  noble  figure.)  Given  by  the  Farriers.  Notice,  in 
the  niche,  their  symbol,  the  pincers.  Beneath,  relief  of  St. 
Eligius  in  his  forge  performing  a  famous  miracle.  (In  order 
to  shoe  a  refractory  horse,  he  cut  off  its  leg  and  then  mira- 
culously restored  it.)  In  the  circle  above,  observe  the 
pincers.  3nd  niche,  St.  Stephen,  by  Donatello,  in  deacon's 
robes,  holding  in  his  hand  the  stone  of  hi!i  martyrdom. 
Above  his  head,  the  arms  of  the  Guild  of  Wool- Weavers, 
which  gave  it,  repeated  also  higher  up  in  the  circle.  3rd 
niche,  St.  Matthew,  by  Ghiberti  and  Michelozzo,  the  gift  of 
the  Money-changers,  whose  patron  he  was  (as  he  sat  at  the 
receipt  of  custom.)  Above  it,  their  arms.  On  either  side, 
two  charming  figures  composing  an  Annunciation,  by  Niccol6 
d'Arezzo  (1400.)  Look  up  from  this  comer  at  the  view  of 
the  building. 

N.  side.  1st  niche,  St.  George,  by  Donatello,  (a  cony,  the 
original  is  in  the  Bargello.)  Beneath  it,  relief  of  the  saint 
killing  the  dragon.  2nd  niche,  the  Quattro  Santi  Coronati, 
or  Four  Holy  Craftsmen,  (Roman  builders  and  sculptors  of 
the  early  church,  martyred  because  they  would  nut  make 
images  of  pagan  deities.    See  Mrs.  Jameson.)    The  figures  , 

P  '1 


3S6 


FLORENCE 


'■-VOL- 


are  by  Nanni  di  Banco.  Beneath,  relief  of  the  four  saints 
in  their  workshop,  engaged  in  sculpture  and  masonry.  In 
the  circle  above,  arms  of  the  four  trades  who  gave  them — 
Bricklayers,  Carpenters,  Smiths,  and  Masons, — whose  im- 
plements may  be  seen  in  the  four  smaller  circles — pincers, 
hammer,  trowel,  and  angle.  3rd  niche,  St  Philip,  by  Nanni 
di  Banco,  the  gift  of  the  Shoemakers.  Their  arms  above  it. 
4th  niche,  St.  Peter  the  Apostle,  with  keys  and  book.  A 
very  youthful  work  by  Donatello,  still  almost  Gothic  in 
character.  It  forms  the  starting-point  for  his  later  develop- 
ment. Trace  him  hence  upward.  (His  early  works  here 
may  be  compared  for  drapery,  etc.,  with  those  of  Piero  di 
Giovanni  Tedesco  from  this  very  church  in  the  Arcade  at 
the  Bargello.  With  the  St.  George,  he  throws  off  the  Gothic 
style,  and  bei;ins  to  feel  his  wings.  Thence,  see  the  Dona- 
tello room  at  the  Bargello.)  Above  this  figure,  in  the 
circle,  the  arms  of  the  Butchers,— a  goat  rampant,  by  Delia 
Robbia. 

Now,  enter  the  churcb,  by  the  second  door  to  the  R,  on 
the  w.  side.  The  Interior  is  very  peculiar.  It  is  divided  by 
piers  in  the  centre  into  two  aisles  or  passage^,  and  has  no 
regular  nave,  choir,  or  transepts.  (This  arangement  is 
probably  borrowed  fron.  the  original  loggia.)  All  the  fres- 
coes in  this  church,  attributed  to  lacopo  da  Casentino 
(Landini),  but  probably  by  many  assistants,  are  greatly 
faded  and  little  discernible.  Note,  however  to  the  L  as  you 
enter,  the  namesake  St.  Michael,  trampling  on  the  dragon, 
with  kneeling  lady  donor.  Beneath,  a  curious  fresco  with 
the  wild  legend  of  the  appearance  of  the  saint  on  Monte 
Galgano.     (See  Mrs.  Jameson.) 

By  far  the  most  important  object  in  this  church,  however, 
is  til's  great  Qothic  5hriine,  by  Orcagna,  which  faces  you  at 
the  end  of  the  R  aisle  as  you  enter.  This  magnificent  work 
occupied  Orcagna  for  ten  years,  and  was  finished  in  1359. 
Sit  down  in  front  of  it  for  a  while,  to  take  in  its  splendid 
architectural  arrangement.  It  is  a  canopy  in  marble,  inlaid 
with  mosaic,  gold,  and  lapis  lazuli :  and  it  is  enriched  with 
endless  pinnacles,  columns,  and  scatuettes,  in  lavish  profu- 


V 


mammmmmmmmHmm 


ef  of  the  four  saints 
and  masonry.     In 
es  whc  gave  them— 
Masons,— whose  im- 
lUer  circles— pincers, 
St.  Philip,  by  Nanni 
Their  arms  above  it. 
keys  and  book.     A 
;ill  almost   Gothic  in 
for  his  later  develop- 
(His  early  works  here 
vith  those  of  Piero  di 
urch  in  the  Arcade  at 
e  throws  off  the  Gothic 
rhence,  see  the  Dona- 
ive  this  figure,   in   the 
goat  rampant,  by  Delia 

econd  door  to  the  R,  on 
:culiar.  It  is  divided  by 
)r  passage^,  and  has  no 
(This  urangement  is 
al  loggia.)  All  the  fres- 
3  lacopo  da  Casentino 
f  assistants,  are  greatly 

however  to  the  L  as  you 
rampling  on  the  dragon, 
,th,  a  curious  fresco  with 
i  of  the  saint  on  Monte 

t  in  this  church,  however, 
■cagna,  which  faces  you  at 
.  This  magnificent  work 
and  was  finished  in  1359- 
le,  to  take  in  its  splendid 
1  canopy  in  marble,  inlaid 
:  and  it  is  enriched  with 
scatuettes,  in  lavish  profu- 

■■■■^      .■    '■'   ■";',  "■  v.-   ^. 
.    •■•■...-■■•■  ■■  -  ■■    ■    ^  ^ 


IX.] 


OR  SAN   MICHELE 


sion.  The  whole  is  clamped  together  with  metal  clamps ; 
and  though  shaken  and  rent  by  earthquake,  it  stands  firm 
and  solid  in  its  Gothic  grandeur.  Study  the  general  scheme 
for  some  time  before  you  proceed  to  examine  the  reliefs, 
which  bridge  over  the  gap  between  Andrea  Pisano  and 
Gliiberti.     They  are  all  by  Orcagna. 

Now,  begin  on  the  L  hand  side  to  examine  in  detail  the 
sculpture  of  the  base.  The  reliefs  on  the  altar  represent 
episodes  in  the  history  of  the  Madonna,  with  the  three 
theological  Graces  between  them.  L  hand  Aide,  centre, 
Faith.  First  panel,  the  Birth  of  the  Virgin,  represented 
with  all  the  conventional  details.  Second  panel,  the  Pre- 
sentation of  the  Virgin  in  the  Temple,  with  the  High  Priest 
above,  the  Madonna  (now  headless)  half  way  up  the  steps, 
St.  Joachim  and  St.  Anna  on  either  side,  and  the  Virgins  of 
the  Lord  in  attendance  close  by.  (Compare  with  the  fres- 
coes by  Taddeo  Gaddi  and  Giovanni  da  Milano  at  Santa 
Croce.)  The  piers  at  the  angles,  supporting  the  roof, 
have  allegorical  Virtues,  after  the  Gothic  taste  of  the  period. 
Front:  centre,  Hope.  First  panel.  Marriage  of  the  Virjjin, 
where  the  attitudes  of  Joseph  and  Ma  /,  the  budded  itaflf, 
the  angry  suitor  striking,  the  impatient  suitor  breaking  his 
staff,  and  all  the  details,  are  conventional.  Compare  with 
the  frescoes.  The  arrangement  persists  as  late  as  the 
Spo/alizio  by  Perugino  (now  at  Caen ; )  imitated  by  Raphael 
(in  the  Brera  at  Milan),  and  by  Luini  at  Saronno.  (But  it 
did  not  begin  with  Orcagna.)  Second  panel,  the  Annuncia- 
tion, also  with  the  usual  conventional  features.  Notice 
C^.M.,  to  R  and  L,  on  tb»;  piers. 

The  picture  over  the  Altar,  (to  contaii-  /hich  this  marvel- 
lous work  was  built,)  was  originally  a  Madonna  and  Child, 
with  adoring  angels,  by  Ugolino  da  Siena  :  the  one  which 
now  replaces  it  is  by  Bernardo  Daddi,  somewhat  after  the 
fashion  of  the  Cimabue  in  Santa  Maria  Novella,  though  of 
course  with  technical  work  in  the  style  of  the  School  of 
Giotto.  Ugolino's  was  the  mirar  jious  image  which  collected 
during  the  plague  the  money  employed  in  building  this 
Tabernacle.     Lafenestre  attributes  the  present  altar-piece  to 


*mm 


wmsA 


BfflMIWffiW 


328 


FLORENCE 


tix. 


Don  Lorenzo  Monaco  :  it  is  no  part  of  my  task  to  give 
critic4  opinions,  but  I  confess  I  fail  to  see  in  it  any  maik  of 
Don  Lorenzo's  handicraft. 

R  Aide,  centre,  Charity,  with  her  flaming  crown,  nursmg 
an  infant.  First  panel,  the  Nativity,  with  announcement  to 
the  Shepherds.  2nd  panel,  the  Adoration  of  the  Magi, 
where  the  figures  and  positions  are  again  conventional.  Do 
not  omit  such  minor  features  as  the  beautiful  angels  on  the 
frame  of  Daddi's  picture,  nor  the  statuettes  on  the  piers. 
The  minor  Virtues  in  relief  below  have  their  names 
inscribed  upon  them.  At  the  back,  below,  in  the  centre,  a 
door  (to  hold  the  relic.)  First  panel,  the  Presentation  of 
Christ  in  the  Temple,  where  priest,  altar,  fire,  etc.,  are  all 
conventional.  Second  panel,  the  Angel  announcing  the 
death  of  the  Virgin.  (Distinguish  this  subject  from  an 
Annunciation.  In  it,  the  angel  bears  three  palms  or  seven 
stars.)  The  back,  above,  is  occupied  by  a  large  relief  of  the 
Death  and  Assumption  of  the  Madonna.  Below,  Our  Lady 
on  her  bier,  with  Christ  receiving  her  soul,  like  a  new-born 
baby.  The  Apostles  in  attendance,  with  other  saints,  to  R 
and  L,  and  adoring  angels.  Above,  the  Madonna  in  a 
mandorla,  with  aged  features,  (very  unusual)  raised  by 
angels.  To  the  L,  St.  Thomas,  with  his  hands  raised  to 
catch  the  Sacra  Cintola,  once  held  (I  think)  by  the 
Madonna,  but  now  broken  oflT,  with  her  thumb.  (Perhaps  it 
was  in  metal.)  This  is  the  original  of  the  Nanni  di  Bvnco 
on  the  N.  door  of  the  Cathedral,  where,  however,  the  two 
trees  to  the  R  are  replaced  by  a  tree  and  a  bear.    Compare 

them. 

Do  not  rest  satisfied  with  verifying  this  brief  description 
alone,  but  sit  long,  and  observe  the  other  details,  such  as  the 
candlestick  angels  at  the  corners,  supported  by  beautiful 
inlaid  twisted  pillars,  with  lions  and  lionesses  alternately  on 
their  bases.  Note  also  in  detail  the  exquisite  decorative 
work  of  the  friezes,  piers,  and  arches  ;  the  beautiful  scallop- 
shells  ;  and  tlie  character  of  the  inlay.  Every  portion  of 
this  gorgeous  work  deserves  long  and  close  study. 

After  looking  at  this  magnificent  masterpiece  of  Orcagna, 


my  task  to  give 
I  in  it  any  mark  of 

ing  crown,  nursing 
.  announcement  to 
ition  of  the  Magi, 
^  conventional.    Do 
itiful  angels  on  the 
jettes  on  the  piers, 
have    their    names 
low,  in  the  centre,  a 
the  Presentation  of 
tar,  fire,  etc.,  are  all 
»gel  announcing  the 
his  subject  from  an 
three  palms  or  seven 
jy  a  large  relief  of  the 
a.    Below,  Our  Lady 
soul,  like  a  new-born 
ifith  other  saints,  to  R 
:,  the  Madonna  in  a 
J  unusual)    raised    by 
Ih  his  hands  raised  to 
eld    (1    think)  by   the 
,er  thumb.    (Perhaps  it 
of  the  Nanni  di  B  vnco 
here,  however,  the  two 
and  a  bear.    Compare 

ng  this  brief  description 
other  details,  such  as  the 

supported  by  beautiful 
,  lionesses  alternately  on 
the  exquisite  decorative 
.5  ;  the  beautiful  scallop- 
inlay.  Every  portion  of 
nd  close  study. 

masterpiece  of  Orcagna, 


IX.] 


OR  SAN  MICUELE 


229 


it  may  be  difficult  for  you  to  interest  yourself  in  the  other 
works  in  this  singular  church.  The  corresponding  place  in 
the  L  aisle  is  filled  by  the  Altar  of  St.  Anne,  erected  in 
gratitude  for  that  saint's  aid  in  the  expulsion  of  Walter  de 
Brienne,  Duke  of  Athens.  The  usual  conventional  group 
of  St.  Anne  holding  on  her  knees  the  Mado.ina  and  Child  is 
by  Francesco  di  San  Gallo.  The  central  arch  on  the  L 
contains  a  niche  with  the  wonder-working  Madonna  from 
the  outside  of  the  church,  transported  hither  in  1781,  in 
order  to  preserve  it  from  further  injury  by  the  weather.  It 
is  a  regal  crowned  Madonna,  almost  recalling  the  French 
type,  and  is  attributed  to  Simone  Talenti  (?)  Of  the  fres- 
coes, comparatively  few  can  now  be  deciphered.  Among 
the  most  noticeable  are  St.  Bartholomew,  with  his  knife,  on 
the  pier  to  the  L  of  Orcagna's  shrine :  beneath  him,  a 
predella  of  the  flaying  of  the  saint  Next  pier,  a  Trinity. 
The  little  scene  below  can  be  easily  recognised.  Last  pier 
on  the  R,  St.  George,  which  remotely  suggested  Donatello's 
treatment.  Below  it,  the  Combat  with  the  Dragon.  Last 
pier,  centre,  St.  Stephen,  with  his  stone  on  his  head. 
Beneath,  his  martyrdom.  Many  of  the  others  may  be  spelt 
out  OR  bright  mornings. 

I  advise  yoM  to  sit  for  some  time  in  this  church,  to  observe 
its  architecture  and  decoration,  and  also  to  familiarise  your- 
self  with  the  details  of  Orcagna's  great  tabernacle. 


% 


SAN    MINIATO 

aT  is  not  often  at  Florence  that  one  reaches  down  to 
the  very  earliest  stratum  of  Christian  hagiology, 
as  one  so  often  does  at  Rome  or  Ravenna.    Santa  Reparata 
and  San  Zanobi,  indeed,  are  local  saints  belonging  to  the 
period  of  the  early  persecutions  ;  but  the  ancient  church  ot 
Santa  Reparata  has  given  way  before  the  progress  of  the 
cult  of  Our  Lady  to  the  Cathedral  of  Santa  Maria  del  Fiore, 
while  the  body  "f  San  Zanobi  now  reposes  in  a  Renaissance 
shrine,  all  glorious  from  the  hands  of  Lorenzo  Ghiberti.    At 
San  Mlnlato  del  Monte,  however,  we  do  really  come  upon 
a  saint  of  the  earliest  layer  of  Christian  martyrology,  still 
enshrined  in  a  church  of  early  date  and  of  fine  Romanesque 
architecture.    Minias  or  Miniatus,  according  to  the  legend, 
was  a  prince  of  Armenia,  who  served  Rome  in  the  legions 
of  Decius  (about  254  A.D.).    Accused  of  Christianity  when 
the  Emperor  was  encamped  outside  the  city  of  Florence,  on 
the  hill  which  now  bears  his  name,  Miniatus  confessed  the 
truth,  and  was  condemned  to  be  thrown  to  the  beasts  in  the 
amphitheatre— who  of  course  declined  to  harm  him.    The 
usual  varied  attempts  to  kill  him  which  followed,  all  fiailed 
in  the  usual  way  ;  but  at  last  he  was  beheaded,  a  fate  which 
no  saint,  not  even  St.  Denis,  could  ever  permanently  survive. 
From  a  very  early  period,  it  is  probable  that  a  church  on 
this  site  covered  his  remains,  which  still  exist  here.     The 
present  basilica  (such  is  its  official  title),  a  beautiful  specimen 
of  Tuscan-Romanesque  architecture,  dates  in  part  from  the 
year  loio.    With  the  group  of  buildings  about  it,  forming 
part  originally  of  a  Benedictine  monastery,  it  is  conspicuous 


'*"4 


X.] 


SAJV  MINIATO 


331 


ne  reaches  down  to 

Christian  hagiology, 

la.     Santa  Reparata 

Its  belonging  to  the 

»e  ancient  church  ol 

the  progress  of  the 

mta  Maria  del  Fiore, 

jses  in  a  Renaissance 

^orenzo  Ghiberti.    At 

e  do  really  come  upon 

tian  martyrology,  still 

d  of  fine  Romanesque 

irording  to  the  legend, 

1  Rome  in  the  legions 

d  of  Christianity  when 

he  city  of  Florence,  on 

Vliniatus  confessed  the 

)wn  to  the  beasts  in  the 

cd  to  harm  him.    The 

hich  followed,  all  failed 

beheaded,  a  fate  which 

er  permanently  survive. 

sable  that  a  church  on 

\  still  exist  here.     The 

;le),  a  beautiful  specimen 

:,  dates  in  part  from  the 

Idings  about  it,  forming 

lastery,  it  is  conspicuous 


i$.'- 


from  almost  every  part  of  the  Lungarno.  Choose  a  bright 
day  on  which  to  visit  it.  Read  beforehand  the  legend  of 
St.  Benedict. 

Another  saint,  however,  with  whose  history  it  is  also 
necessary  to  be  acquainted  in  order  fully  to  understand  San 
Miniato  is  a  much  later  one,  San  Qlovannl  Qualberto,  the 
founder  of  Vallombrosa  (985-1073).  Giovanni  was  a  member 
of  a  wealthy  Florentine  family.  An  assassin  murdered  his 
brother  Hugo.  By  the  custom  of  vendetta,  which  then 
universally  obtained,  Giovanni  ought  to  have  killed  the 
murderer.  As  he  mounted  one  Cood  Friday  towards  San 
Miniato,  with  armed  followers,  he  unexpectedly  met  the 
murderer,  defenceless,  at  a  turn  of  the  road.  The  assassin, 
taken  by  surprise,  fell  at  his  feet  and  begged  for  mercy,  for 
love  of  Christ  and  Our  Lady.  Giovanni,  moved  by  pity, 
forgave  him,  and  went  on  to  San  Miniato,  where  he  threw 
himself  trembling  before  a  crucifix.  Instantly,  the  Christ 
on  the  cross  nodded  his  head  in  approval.  Deeply  stirred 
by  this  incident,  Giovanni  became  a  Benedictine  monk  in 
the  monastery  of  San  Miniato  :  but  afterwards,  finding  the 
discipline  too  lax  for  him,  he  retired  to  Vallombrosa,  where 
he  founded  a  sterner  and  more  ascetic  order.  The  crucifix 
which  performed  the  miracle,  and  many  other  mementoes 
of  the  saint,  still  remain  at  San  Miniato.  (See  the  beautiful 
legend  in  full  in  Mrs.  Jameson.) 

Remember,  therefore,  three  things  about  this  church  :  (1) 
it  is  the  church  of  a  Benedictine  monastery ;  therefore  it  is 
full  of  pictures  of  St.  Benedict :  (2)  it  is  the  church  of  the 
eariy  local  Armenian  martyr  San  Miniato,  over  whose 
body  it  is  raised  :  (3)  it  was  hallowed  by  its  association  with 
San  Qlovanni  Qualberto.] 

Walk  or  drive  as  far  as  the  Porta  San  Niccol6.  Then, 
take  the  zigzag  path  up  the  hill,  as  far  as  the  Piazzale 
Michelangiolo,  on  the  Viale  dei  Colli.  From  this  point 
there  is  a  *  fine  view  of  Florence.  In  the  centre  of  the 
Piaz-  Ue  stands  a  copv  in  bronze  of  Michael  Angelo's  David 
(m..  the  Belle  Arti),  origin.:lly  intended  to  replace  the  marble 


L_ 


333 


FLORENCE 


[X. 


figure  rerroved  fron.  outside  the  Palazzo  Vecchio,  but  after- 
wards placed  in  its  present  site  because  the  dark  background, 
which  suited  the  marble,  destroyed  the  effect  of  the  bronze 
copy.  At  its  base  are  similar  copies  of  Day,  Night,  Dawn, 
and  Dusk  from  the  Tombs  of  the  Medici  at  San  Lorenzo. 

The  small  church,  among  cypresses,  a  little  further  up,  is 
attached  to  the  Franciscan  monastery  of  San  Salvatore  al 
Monte;  it  was  built  by  Cronaca  in  the  year  1504.  Its  in- 
ternal proportions  are  simple  but  pleasing.  Above  the  High 
Altar  is  a  Crucifixion,  with  St.  Francis  close  to  the  Cross, 
and  the  Madonna  and  St.  John.  (The  Franciscans  always 
attach  special  importance  to  the  cross  and  crucifix.)  Over 
the  L  door  is  a  Pietk,  by  Giovanni  della  Robbia.  Notice 
throughout  the  Franciscan  character  of  the  decorations. 

Continue  up  the  hill  as  far  as  the  fort,  erected  by  Michael 
Angelo  in  1529,  and  defended  by  him  for  1 1  months  against 
the  imperial  troops,  who  besieged  the  town  to  restore  the 
Medici.  Pass  in  by  the  gate  of  Michael  Angelo's  fortress, 
with  the  Medici  balls  now  triumphantly  displayed  on  its 
doorway,  and  ring  the  bell  at  the  door  in  front  of  you.  (The 
custnde  expects  a  few  soldi.)  Stand  on  the  platform  in  front 
of  the  church,  to  observe  the  faqade  and  the  Palace  to  the 
R  of  it  (about  1294). 

The  front  (about  1013,  restored  1401)  is  in  the  Tuscan- 
Romanesque  style,  and  not  unlike  the  Baptistery  or  the 
early  part  of  Santa  Maria  Novella.  Above  are  beautiful 
pilasters  and  inlaid  work,  on  the  gable  of  the  nave,  which  is 
connected  with  the  aisles  by  triangular  half-pediments. 
(Compare  with  Santa  Croce  and  Santa  Maria  Novella.) 
Over  the  principal  window  on  the  front  is  a  too-much- 
restored  13th  cent,  mosaic,  representing  Christ  enthroned, 
on  a  very  Byzantine  seat,  with  Our  Lady  to  his  R  and  San 
Miniato  to  his  L,  holding  in  his  hand  a  problematical  object 
wh'-h  is  apparently  a  crown  (but  I  do  not  feel  sure  of  it). 
Do  not  overlook  the  eagle  on  the  top,  the  beautiful  cornice, 
and  the  heraldic  animals  in  the  gable.  Observe  also  the 
lions  supporting  the  pillars  of  the  upper  window,  with  its 
exquisite  inlaid-work.    The  campanile,  ruinous,  is  of  1 524. 


I 


[x. 

ecchio,  but  after- 
dark  batsground, 
feet  of  the  bronze 
lay,  Night,  Dawn, 

San  Lorenio. 

little  further  up,  is 

5an  Salvatore  al 

year  1504.     Us  in- 

g.    Above  the  High 

close  to  the  Cross, 

Franciscans  always 

and  crucifix.)    Over 

lla  Robbia.     Notice 

the  decorations. 

t,  erected  by  Michael 

or  1 1  months  against 

town  to  restore  the 

lael  Angelo's  fortress, 

ntly  displayed  on  its 

in  front  of  you.    (The 

n  the  platform  in  front 

and  the  Palace  to  the 

401)  is  in  the  Tuscan- 
the   Baptistery  or  the 
Above  are  beautiful 
le  of  the  nave,  which  is 
npular    half-pediments. 
Santa  Maria  Novella.) 
front  is  a  too-much- 
iting  Christ  enthroned, 
Lady  to  his  R  and  San 
d  a  problematical  object 
[  do  not  feel  sure  of  it). 
,p,  the  beautiful  cornice, 
able.     Observe  also  the 
upper  window,  with  its 
nlle,  ruinous,  is  of  1524- 


X.] 


SAN  MINI  AT  0 


233 


Enter  the  church,  which  '<«  in  form  a  simple  Basilica, 
with  an  Apse  of  the  tribune,  but  with  its  Choir  raised  by 
steps  above  the  Crypt.  As  it  stands,  it  is  the  oldest  church 
in  Florence,  save  perhaps  the  Baptistery.  Notice  the 
beautiful  side  arches  of  the  Nave,  supported  by  columns, 
whose  marble  is  unfortunately  artificial.  Observe  also 
that  the  roof  is  largely  supported  by  three  arches  across 
the  Nave,  borne  by  clustered  pillars,  dividing  it  into  three 
main  compartments.  Nave,  arches,  and  tribune  are  almost 
entirely  covered  with  ornamental  marble  decoration. 
Notice  also  the  inlaid  floor,  with  the  Signs  of  the  Zodiac, 
and  animals  in  pairs  on  either  side  of  a  tree,  together  with 
the  frequent  Romanesque  device  (once  Etruscan  and 
oriental)  of  two  birds  pecking  towards  a  centre.  (See 
Goblet  d'Alviella's  Migration  of  Symbols.) 

In  the  R  aisle,  ruined  frescoes  ;  the  first  exhibits,  centre, 
the  Madonna  and  Child,  L,  St.  John  Baptist,  St.  Mark  the 
Evangelist,  ind  St.  Francis,  R,  St.  John  the  Evangelist, 
St.  James,  and  St  Antony  Abbot,  attributed  to  Paolo  di 
Stefano.  Further  on,  groups  of  saints,  indistinctly  traceable. 
Among  them  I  mak^  out  St.  Nicholas  of  Bari  with  his 
golden  balls,  and  probably  Santa  Reparata.  On  the  pier, 
St.  Mary  Magdalen,  clad  with  her  own  hair,  in  her  cave  in 
Provence.  Next  her,  St.  Catherine,  San  Miniato,  St.  Julian, 
and  a  fourth  figure  with  a  Cross  and  instruments  of  the 
Passion,  of  which  I  am  not  certain.  All  these  are  perhaps 
by  Spinello  Aretino  (?) 

Before  mounting  the  steps,  which  lead  to  the  raised  choir, 
observe,  in  the  centre,  the  beautiful  little  canopy  or  Chapel, 
erected  for  Piero  de'  Medici  after  a  design  by  Michelozzo, 
in  order  to  cover  the  famous  Crucifix,  which  bowed  its 
head  to  San  Giovanni  Gualberto,  the  founder  of  the 
Vallombrosr.n  order,  when  he  pardoned  the  murderer  of  his 
brother.  The  altar-piece  is  a  composite  picture,  (attributed 
to  Spinello  Aretmo  ?)  with  San  Miniato,  crowned,  to  the  R 
and  San  Giovanni  Gualberto,  bearing  the  Crucifix,  to  the 
L.  In  the  centre  are  scenes  from  the  Passion,  with  an 
Annunciation,  Ascension,  etc. 


^ 


mmtmmmmsKmssiaesmsiim&mJism!' 


mm 


FLORENCE 


I* 


Now.  mount  the  steps  to  tj«  "'*^  ^^^^^  the  canopy. 
yo«dosothcbeaut.f«  walo  thecnrp^^^^  ^^  y„„,  ^  at 
Is  well  as  the  interestmg  roof  of  the  la  ^^^^  ^^  ^^^ 

the  top  otcl.e  stairs,  are  three, ^ts^^«      ^^  ^^^   ^^^  ,!„„« 
Magdalen  and    Santa  Reparata  wt  _^   ^^^ 

clearly  recognisable       ^^J™"^^  °     ^^u  i„  inlaid  marble 
^screen  of  the  Choir,  a  most  lovely  ^^^^^^ 

«";;  mosaic  patterns  of  Ro-- J/  J^^J^t  device  of  men 
in  detail,  and  note  parfculariy  he  q^^  ^^^  ^^^^^^  ^11 
and  winged  monsters  on  "^^e'  ^  Romanesque  work, 

these  figures  are  lovely  «PJ<^^^^"»^  ^,,^  Us  lectern  sup- 
The  **pulplt.  raised  °"  J"';^  t  human  figure,  above 
ported  by  an  eagle,  standing  ^^^^^  beauty.     AH  ns 

a  lion,  is  also  a  ^^^j'^  °^.  ""^"Jd.     Look  into  the  hand- 
details  should  be  carefully  mspectea  ^^^^^     ^,^^ 

craft  of  all  this  work  '^'°^'\X'^;.Zos.\c,  .2th  cent.  (?). 
Apse  of  the  Tribune  ^as  an      arly  in  ^^^  ^^^ 
very  much  restored  0"  '388,  MS.,  a  ^.^^  ^^^  ^^^^^ 

■      stiU  extremely  beautiful,  of  Chm^essj.^^  ^^^  ^^^^^ 

and  omega  on  e'^*'"  f^^"^  ^  ^nds  the  Madonna,  to  h,s 

.     style  of  the  throne,    ^o  h.s  Rj^       ^  ^^,  ^rown,  as 

X."SanctusMi.»atus,RexErm.me^  ^^^  ^^^^^^  ^^^j,, 

if  offering  it  to  the  Sav--    Benea\  ^^^^^^  ^^^.^^  ^^^„. 
Four  Evangelists,  with  ^^^""^^     ^^,^  j^dudes  cur.ous 
The  detail  of  th.s  ^^'^''"^^IZL    The  Byzantine  type 
trees,  with  birds  and  o^er  amma        ^^^^^  .  ^^ 
of  the  decorative  adjuncts  is  well  ^^^  ^.^^^  j^^^,,,^ 

under  surface  of  the  f/^  ^^J^'^as.  and  busts  with  haloes, 
alternately  whole lenghnmandor.  ^^^^^  ^^  ^^^ 

divided  by  birds  P"^'"'^ .      \"    observe  also  the  inlaid 
mosaic  is  the  figure  of  the^^^^^^^^  Us  windows  blocked 

decoration  of  the  Apse,  o 

by  translucent  slabs  of  marble.  ^^^^^  j^^^.est. 

^'on  the  K  wall  of  the  ^ho-  are  Pi«  -  ^^^  ^.^^  ^^  ^^,  ,, 

triSrr^^Sn.    over  the  K  altar.  San 


loir,   noticing  as 
!hind  the  canopy, 
To  your  R,  at 
ig  whom  St.  Mary 
r  lily   are  alone 
is   the    exquisite 
'k  in  inlaid  marble 
le.    Examine  these 
lint  device  of  men 
the  doorway.    All 
Romanesque  work, 
ith  its  lectern  sup- 
human  figure,  above 
ry  beauty.     All  its 
Look  into  the  handi- 
ter  the  Choir.    The 
nosaic,  12th  cent.  (?), 
our  own  time)  but 
sing,  with  the  Alpha 
Notice  the  Byzantine 
the  Madonna,  to  his 
Holding  his  crown,  as 
are  the  beasts  of  the 
marked  beside  them, 
work  includes  curious 
The  Byzantine  type 
th  attention.      On  the 
ide  are  minor  figures, 
i,  and  busts  with  haloes, 
e  comer  of  the  main 
bserve  also  the  inlaid 
ti  its  windows  blocked 

:tures  of  local  interest. 
Vliniato,  with  his  sword, 
ctures,  the  various  in- 
Further  on,  saints,  too 
Over  the  R  altar,  San 


X.] 


SAN   MINI  A  TO 


235 


Giovanni  Gualberto,  holding  his  crucifix.  The  L  altar  has 
a  late  picture  of  San  M iniato,  with  other  saints,  to  whom 
Our  Lady  is  appearing.  On  the  wall  beyond  is  a  Pietk. 
By  ihe  steps,  in  thr  L  aisle,  as  you  descend,  fresco  of  St 
Jerome. 

Now,  enter  the  depressed  Crypt,  the  arrangement  of 
which  will  help  you  to  understand  such  later  churches  as  St. 
Denis  near  Paris,  where  transepts  ar,c  added  to  this  simpler 
Basilica.  The  choir  is  supported  by  small  columns,  mostly 
very  ancient,  with  various  capitals,  all  of  which  deserve 
notice.  The  much  larger  columns  which  support  the  roof 
of  the  Nave  pass  through  the  vaulting  of  the  choir  without 
bearing  any  of  its  weight.  The  chapel  at  the  end,  with 
graceful  fluted  columns,  and  frescoed  vaulting,  contains  a 
High  Altar,  under  which  still  rep<  se  the  remains  of  San 
Miniato,  for  whose  sake  the  church  was  erected. 

Half-way  down  the  L  aisle  is  the  Chapel  of  St.  James, 
built  in  1 46 1  by  Rossellino,  to  contain  the  *Tomb  of 
Cardinal  James  of  Portu8;al,  which  forms  its  principal 
object.  All  the  sculpture  is  by  Rossellino.  The  Cardinal 
lies  on  a  bier,  supported  by  charming  children.  Above, 
kneel  two  angels,  one  of  whom  holds  a  crown.  Higher  still. 
Madonna  and  Child,  in  a  frame  supported  by  flying  angels. 
The  decorative  work  of  the  base  and  sides  is  very  beautiful 
So  is  that  of  the  entrance  arch,  and  the  niches  by  the  win- 
dows. Observe  the  mosaic  floor.  On  the  ceiling  are  four 
winged  cardinal  virtues  by  Delia  Robbia.  On  the  L  wall, 
above  the  marble  seat,  is  an  Annunciation,  formerly 
attributed  to  Pollaiolo,  but  referred  by  Morelli  to  Baldo- 
vinetti.  The  frescoe«,  attributed  to  the  Pollaioli,  bat 
similarly  assigned  by  Morelli  to  Baldovinetti,  represent 
the  Four  Evangelists,  accompanied  by  the  Four  Doctors  of 
the  Church,  in  the  usual  combination. 

Further  on,  in  the  L  aisle,  is  a  Crucifixion  with  various 
saints,  amongst  whom  St.  Benedict  is  conspicuous,  close  to 
the  foot  of  the  cross.  Among  the  others  are  probably  the 
Madonna  and  St.  John,  St.  Stephen  and  Santa  Reparata, 
St.  Francis  and  St.  Antony  Abbot.     Further  still,  Madonna 


i* 


FLORENCE 


[X. 


and  Child,  in  a  mandoria  of  clierubi,  with  R,  St.  Jerome 
and  St,  John  Baptist  i  L,  St.  Benedict  and  St.  I  awrencr.  1 
am  not  quite  sure  of  all  these  iden:ificntions. 

Note  the  fine  wooden  roof  of  the  Nave,  and  the  frequent 
repetition  throughout  of  the  Florentine  eagle  of  St.  John. 

Gel    the    Sacristan  to  open  for    you  the  door  of   the 
*Sacristy,  on  the  R  side  of  the  choir  (fee,  about  50  c).     It 
contai'is  *frescoes  by  Spinello  Aretino,  extremely  appropri- 
ate to  a  Benedictine  Abbey.    On  the  roof,  the  four  Evan- 
gelists with   their    emblems  (by  another  hand,    I   think). 
Beneath,  an  admirable  scries  of  the  Miracles  of  St.  Bene- 
dict.   These  run  chionologically  in  a  curious  spiral  order, 
the  top  first,  then  the  bottom,  running  on  one  plane  ;  but 
for    convenience    of   description,   I   treat   them  by  walls. 
Wall  facing  you  as  you  enter :  above,  l,  St.  B.  leaves  his 
father's  house  on  horseback  :  R,  St.  B.  performs  the  miracle 
of  the  broken  dish.     Below,  L,  Totila,  King  of  the  Cloths, 
comes  to  visit  St.  B.  at  the  monastery  of  Monte  Cassina 
and  the  saint  prophesies  ;  R,  death  of  St.  B.,  whom  on*;  of 
his  monks  sees  ascending  to  heaven,  along  a  broad  wa/ 
covered  with  brocade.    Wall  to  tho  R :    above,  L,  St.  B. 
puts  on  the  monastic  dress,  and  receives  investiture  in  his 
cave  from  the  monk  Romano.    R,  St.  B.  receives  a  message 
from  a  priest  inspired  by  God.    Below,  I.,  St.  B.  resuscitates 
a  young  monk,  killed  by  the  fall  of  a  wall  at  Monte  Cassino 
(note  the  devils) ;  R,  St.  B.  observes  a  young  monk  who 
leaves  the  church  at  prayer-time  tempted  by  a  devil ;  he 
scourges  the  monk,  and  exorcises  the  devil.     Entrance 
wall :  above,  L,  St.  B.  mortifies  the  flesh  by  lying  among 
thorns:    R,  St.  B.  is  proclaimed  prior  of  the  monastery. 
Below,  L,  St.  B.  discovers  water  for  the  convent,  and  makes 
a  lost  axe  swim  on  the  surface ;   R,  St.  B.  sends  forth  St. 
Maurus  to  rescue  St.  Placidus,  who  has  fallen  into  a  river. 
Window  wall :  above,  L,  St.  B.  abandons  the  convent,  to 
the  joy  of  the  rnonks,  who  found  his  discipline  too  severe  : 
R,  *St.  B.  receives  Maurus  and  Placidus  as  novices  from  the 
hands  of  their  parents.     Below,  L,  St  R.  exorcises  devils 
who  prevented  the  removal  of  a  stone :  R,  St.  B.  recognises 


Mfiaarsii&- 


[X. 

.ih  R,  St.  Jerome 
,  St  Lawrrncu.     i 

ns. 
and  the  frequent 

glc  of  St.  John, 
the   door  of   the 
J,  about  50  c.).     It 

extremely  appropri- 
,of,  the  four  Evan- 

,er   hand,    I   think). 

liracles  of  St.  Bene- 

curious  spiral  order, 
on  one  plane  ;  but 

cat   them  by  walls. 

e  I,,  St.  B.  leaves  his 

performs  the  miracle 

King  of  the  Goths, 

i'ry  of  Monte  Cassina 

f  St.  B.,  whom  on':  ol 

I-.,  along  a  broad  wa/ 

R:  above,  L,  St.  B. 
eives  investiture  in  his 
:.  B.  receives  a  message 
w,  I,  St.  B.  resuscitates 

wall  at  Monte  Cassino 
es  a  young  monk  who 
empted  by  a  devil ;  he 

the  devil.  Entrance 
e  flesh  by  lying  among 
»rior   of  the  monastery. 

the  convent,  and  makes 
R,  St.  B.  sends  forth  St. 
0  has  fallen  into  a  river, 
bandons  the  convent,  to 
is  discipline  too  severe: 
cidus  as  novices  from  the 
L,  St  B.  exorcises  devils 
lone :  B,  St.  B.  recognises 


X.] 


SAJV   MINIATO 


337 


the  armour-bearer  whom  Totila  had  sent  to  him,  disguised 
as  the  king.  Now  that  you  know  the  subjects,  follow  them 
out  in  the  proper  order.  These  fme  frescoes  with  their 
dignified  treatment  of  St.  Benedict  and  tlieir  varied  action, 
are  the  best  specimens  now  remaining  of  Spinello's  work- 
manship.    They  were  restored  in  1840. 


It  you  return  to  Florence  by  the  steep  steps  which  run 
through  a  cypress  avenue  direct  to  the  Porta  San  Miniato, 
you  will  pass  on  your  way  (according  to  Hare)  a  little  shrine 
which  marks  the  place  where  San  Giovanni  Gualberto  for- 
gave his  brother's  murderer.  But  I  will  honestly  confess 
that  though  I  have  searched  for  it  more  than  once,  I  have 
failed  to  find  it 


MfffwiiniaiwiiWMMiiiwaiwiR 


mmB^mmmmm 


XI 

THE  ETRUSCAN   MUSEUM 

u  .  Ka.  pver  been  'lone  in  Italy, 
r  r-  VERY  great  thing  that  ^"/^^  Vu«:.n..  Ron- 
It.  late  or  early,  has  been  don«  by  Etr  ^^^.^ 

lb(l  was  a  half-Tuscan  o    P0=^.  d-.^^^^^^^.„^  „,y,  ^e 
and  Etruscan  blood.    Her  arts  a  ^^^^.^     j„  j^^^ 

even  of  her  W-ngs.  were  »"PP  ;7°;  ^^  ^^uscan  Maecenas 
days,heren.pirewasorgan.sedby     ^^^  ^^^^.^^^  ^^^^^ 

and  the  Etruscan  Sej*""'^  ;  ,,„s  showed  themselves 
Etruscans  -l°"«  ^  ,l.m£ng  Assyrian,  Egyptian,  and 
capable  of  f-''f"">;^;trh  Roman  Empire  began  to  break 
Hellenic  culture,    ^hen  tne  ^^  ^^^^^^^^  g^eat- 

up,  Florence  ^^-""l/J^^f "  also  did  in  equally  Etruscan 
ness  •.  art  awoke  the  e  as  ^^  .^  j^^jy       „.de  the 

Pisa,  Siena,  and  P'='^"8>^;^j^t  things  done  ;  all  the  famous 
,ider  Etruscan  area  were  .  ea  th  g  .^^^^^^^^^^^  ,,,„  ars, 
poets,  painters,  ^^ulptors,  archUe     J  ^^^^^^  ^^  ^^^^ 

and  men  of  science  were  ««  J  por  besides  Tuscany 

Regions  that  had  once  ^"n  ^^^"J'^f,^  .peaking  ethnically) 
proper,  with  its  outhers  m  Romejl  P^^  ^^^^^rdy,  w.th 

Ld  Capua.  Bologna  wafi^uscan,^^^    ^^.^^  ^^^.^^  .^^^^^ 

Mantua  and  R*^«"f '  ^^..'r  Etruscan  or  half-Etruscan 
«as  founded  by  re  ugees  J  "^  ^^  therefore,  wh.le 

and  half-lllyrian  ^^^^^'-J^.^ZaL  Etruria.  to  learn 
you  are  here  in  the  capita^  «'  ^^^.^^^  ^.^..^ 

Lmething  of  the  arts  -^  "'  ^  last  edition  of  Denms's 
The  best  book  on  the  ^^^^^^'^  But  in  order  to  gam  a 
Cities  and  Cemetenes  of  ^tfu  ^  ^^^.^^  ^^ 

^-^^^'^.  tXSi  :SuoTEtr««:an  Museum  of  Flor- 
begin  with  a  briet  visii  ^ 


XI.] 


THE  ETRUSCAN   MUSEUM 


339 


JSEUM 

r  been  done  in  Italy, 
Btrutcans.     Rome 
^idcd  between  Latin 
:renionies,  nay,  some 
by  Etruria.     In  later 
.  Etruscan  Msecenas 
he  earliest  date,  the 
i  showed  themselves 
.yrian,  Egyptian,  and 
",mpire  began  to  break 
tor  of  Etruscan  great- 
d  in  equally  Etruscan 
.  in  Italy  outside  the 
s  done  ;  all  the  famous 
philosophers,  scholars, 
n  blood,  or  came  from 
For  besides  Tuscany 
im  speaking  ethnically) 
as  all  Lombardy,  with 
old  :  while  Venice  itself 
uscan  or  half-Etruscan 
»s  you,  therefore,  while 
odern  Etruria,  to  learn 
of  the  ancient  Tuscans. 
I  last  edition  of  Dennis's 
But  in  order  to  gain  a 
as  like,  I  advise  you  to 
iscan  Museum  of  Flor- 


ence, in  the  Via  dolla  Colonna.     Open  daily  from  lo  to  4, 
one  franc  ;  free  on  Sundays. 

I  will  give  but  the  briefest  generalised  account,  leaving 
you  to  pursue  the  subject  further  at  your  leisure  if  you  tind 
it  attracts  you.] 

The  First  Room  to  the  L  on  the  Qround  Floor  containi 
very  early  hut-ihaped  sepulchral  urni  from  the  necropolis 
of  Vetulonia.  The  earliest  tombs  in  Europe  were  under- 
ground houses  (or  chambered  barrows)  in  which  the  dead 
were  buried  with  their  a.ms  and  goods,  to  lead  their  subter- 
raneous life  as  above  ground.  After  burning  came  in,  these 
smaller  hut-shaprd  urns  for  the  ashes  were  substituted  for 
real  huts,  the  soul  b'iing  supposed  to  inhabit  them  as  the 
body  had  inhabited  the  underground  palaces.  The  cases 
also  contain  pottery  of  early  native  executiot  veapons,  etc., 
which  were  placed  in  the  tomb  for  the  use  oi  the  spirit.  The 
articles  so  buried  included  objects  of  personal  adornment, 
bracelets,  necklets,  and  decorative  household  ornaments. 

The  Second  Room  contains  bronzes  and  jewelry,  mostly 
of  somewhat  later  date,  also  from  the  necropolis  of  Vetulonia. 
The  doorways  are  copied  from  those  in  the  tombs.  Observe 
throughout  how  the  solid  and  massive  but  somewhat 
gloomy  Tuscan  type  of  architecture  is  derived  from  ancient 
Etruria,  and  has  persisted  with  little  change  of  spirit  to  the 
present  day.  This  rojm  also  contains  beautiful  black 
pottery,  as  yet  betraying  little  or  no  oriental  or  Greek  influ- 
ence. In  the  glass  case  nearest  the  window,  objects  found 
in  the  tomb  of  a  lucumo  or  prince  at  Vetulonia.  The  de- 
signs on  all  the  metal- work  in  this  room  deserve  close 
attention.  !n  the  centre  case,  notice  the  exquisite  gold 
jewelry,  in  miniature  filagree  work. 

The  Third  Roam  contains  objects  from  Vetulonia  and 
Populonia,  including  stiff  archaic  stone  mortuary  figures,  of 
about  the  7th  cent.  These  exhibit  Egyptian  affinities. 
Notice  among  them  the  early  occurrence  of  the  common 
oriental  -.nd  afterwards  Tuscan  design  of  the  two  birds 
facing  one  anotlier,  seen  at  San   Miniato  and  elsewhere. 


34^ 


FLORENCE 


[XI. 


349 

designs  ;  also  exquisite  g«^dj^*^"';     ^any  of  the  lamps 
S  Populonia.    Fme  amphora,    ^c-  ^M  ^V^^  ^^^  ^.^^^^^ 

and  other  terra-cotta  objects  m 

characteristic.  tn  the  First  Floor.    To  the  R  hes 

Mount  the  "^'''^^.^.^'r.^^X,  to  Egyptologists, 
the  Egyptian  Museum,  mterestmg  ^^  ^^^^^^^ 

As  it  is  inferior  to  ^ho^e  of  U.e  g«  ^   ^^^   ,„,„erate  Us 
especially  London  and  Pans, 

objects.    To  the  R  hes  ^^^3^  in  the  world, 

The  Etruscan  W"!^""';";     Approach  it  by  passmg 

and  of  strictly  loca   ^^^''^^\^  ^fto  take  the  vanous 

through  the   Egyptian  Roo""^'/" 

halhm  the  most  instrucuveorde  ^^^        ,^ 

Hall  VIU.  begms  f  ^  ^^"^^.^^.ai  pottery,  of  ear  y 

splendid  specimens  of  black  M  ^^^  necessary  to 

date,  with  a  few  red  ^P^Xrattention  should  be  pad  to 
enumerate  these,  but  ^^""^^"^[^^^^  between  the  windows 
the  beautiful  group  m  and  o"  "««  »  ^^  ^^i^^on  to  the  Cult 
«Uh  decorative  figures  ^^^^^^^^^^  ,^,^  sits  ot»  the  top 

from  sepulchral  "'<>""™f  "';•.  „,^d  works :  those  in  case  1, 
Hall  IX  contains  earW  colo"jed  ^  ^^^  ^^    ^^^ 

„.ainly  of  native  "^^""/^^^^"^Xodels :  case  111.  imported 
in  Eiruria,  in  imitation  of  oriental  mo  ^^^  ^^  ^^^^^ 

ll  Corinth.     The  figures  «.d  desig    ^^^^^^  ^.^^^^  ^^, 

deserve  close  attention.    In  tne 

bronze  dishes.  ns  and  decorative 

Hall  X  contains  cases  °/  ^^°"'^  .^^^^  ^^lue.     Notice  m 

objects,  many  of  ^^^^^Xl^^  of  a  wounded 

ca*e  1,  two  winged  Gen     wit  ^^^   ^^^^^   ^^j   „ 

warrior,     closely    ^-^-f^'^l^l^^r  hand  suggesting  the 
Egyptian  F<='"'^«' ^"^Piet^      The  same  case  contains 


...-iv— 


lottery,  with  native 

Good  C8t,e  of  corns 

Many  of  the  lamps 
.nd  case  are  highly 

qoor.  To  the  R  lies 
inly  to  Egyptologists, 
^t  European  capitals, 
I   not   enumerate  its 

le  finest  in  the  world, 
pproach  it  by  passing 
s  to  take  the  various 

objects,  and  contains 

^^tte,rv    of  early 
ican  pottery,  "•        ' 

[t  is  not  necessary  to 
ntion  should  be  paid  to 
,,  between  the  windows, 

cial  relation  to  the  Cult 
rd  which  sits  on  the  top 
the  cases  contain  good 
.,  placedwiththebod.es 
of  the  spirit.    All  come 

works -.those  in  easel, 

d  design  :  case  11.  made 
,odels:  case  111.  imported 

designs  on  all  of  these 
centre,  chased  silver  and 

«  weapons  and  decorative 
artistic  value.     Notice  in 

the  body  of  a  wounded 
n  the  one  hand  certain 
other  hand  suggesting  the 

The  same  case  contains 
.  fine  metal-work.      In  the 


XI.1 


THE  ETRUSCAN   MUSEUM 


241 


i 


centre,  magnificent  fragments  from  Chianiano.  In  cases 
V  to  VII,  weapons,  mace,  etc.  In  case  Vili,  notice  exqui- 
site jars  and  mirror-frames  from  Telamone. 

Hall  XI  contains  the  best  bronzes  of  the  collection.     In  the 
centre,  great  bronze  ^Chimaera  of  the  5th  century,  from 
Arezzo,  considered  by  some  experts  to  be  of  Greek  workman- 
ship.   R  of  the  door,  noble  statue  of  ♦*Minerva,  lower  portion 
restored,  also  from  Arezzo.    To  balance  it,  fine  statue  of  an 
**Orator,  admitted  to  be  of  native  handicraft,  and  found 
near  the  Trasimene  lake.    Along  the  wall  beside  him,  bronze 
figures,  some  of  them  of  stiff  archaic  workmanship,  represent- 
ing Tuscan  chieftains  and  their  wives,  while  others,  later, 
exhibit  the  gradual  increase  of  Greek  influence.    On  the 
same  wall,  above  case  5,  animal  figures,  similarly  progressing 
from  archaic  stiffness  to  the  comparative  freedom  shown  in 
the  small  bronze  of  a  he-goat.     In  the  case  below,  beautiful 
Etruscan  rA^rrors,  the  most  charming  of  which  is  one  in 
silver  with  the  Etruscp  deities  Aplu,  Turms,  and  Tinia. 
Beside  it,  dice  and  other  works  in  ivory.    The  small  cases 
contain  bro'".zes  of  various  dates,  similarly  varying  from  the 
most  ma  iked  archaic  stiffness  to  perfect  Greek  freedom. 
Among  the  most  beautiful  is  No.  i,  head  of  a  young  man,  of 
native  workmanship,  belonging  to  the  Roman  period.     Nos. 
9,  10,  II  and  13,  are  also  most  interesting.     The  labels  give 
the  origin  and  age  of  the  various  figures.     On  the  wall, 
smaller  bronzes,  many  of  them  of  great  beauty.    Case  i, 
which  is  arranged  in  approximately  chronological  order, 
admirably  exhibits  the  gradual  change  from  "tiff  early  figures, 
with  arms  closely  affixed  to  the  sides,  through  those  where 
the  arms  and  legs  are  partially  separated,  to  later  forms  in 
which  unsymmetrical  arrangement,  variety  of  movement,  and 
at  last  grace  and  freedom  are  more  and  more  conspicuous. 

Retraverse  Halls  XI,  X,  and  IX. 

Hall  XII,  a  long  corridor,  contains  painted  vases,  of 
Greek  origin,  imported  into  Etruria  to  be  buried  with  the 
dead.  The  study  of  these  can  only  be  attempted  by  the  aid 
of  specialist  works,  such  as  Miss  Jane  Harrison's  <7r^(?^  Vases. 
The  earlier  specimens  have  mostly  black  figures  on  a  red 

Q 


:Mmmim*" 


.mm&mm^niimimt'st:!^''*^ 


242 


FLORET C^ 


[XI. 


g.ound;  the  later  have  ^  ^^t:  or.^  ^or  the 
?abels  sufficiently  ^f^^'\'^'^Jt^^^,  famous  Fr.n«fol» 
casual  visitor.  In  the  ""traU^e  ^  ^^^  ^^  ^^^  ^„^,, 
vase,  so  called  from  us  first  P°!'"  A  ^^^  ^n  its  decora- 
Ipt^ens  of  Greek  fictde  «U  Th^  ubj  .^  ^^^  ^^^^  ^^ 
tions  are  explained  on  th  ^abel^  ^..^manship.  Beyond 
R,are  exquisite  tazzas  o^  ^^^  ^«.  ^^^  ^^.^  , 

them,  we  come  "P^^.r^^^J^d  figures  on  a  bkck  ground 

gilt  or  silvered.  contains  the  smaller  Greek 

The  First  Room  on  t^e  L  con         ^^^.     ^^^^  ^^„,^ 

ar^d  Roman  bronzes  removed  from  ^he  Second 

personal  study  of  these  -'"  ^^///JJ^ts,  etc. 

Room  contains  the  larger  bronzes  b       ^^^^  Corridor  mto 

Return  through  «^^^^3"^'^„  glass  and  in  the  prec.ous 
Hall  XVUI.  '^«"''^'";"J,2  nec^^laces,  etc.    In  the  cases, 
tnetals,  mcluding  ^^^P^^'l^^and  Latin  copper  money, 
collections  of  heavy  old  Rornan  an       ^^  ^^  ^^,,  ^^l.  con- 
The  next  door  to  the  L  gwes  ^^^  ^^^^^^^  ^^^o- 

tainiog  life-sized  sarcopha,  for  bu^^^.^^     ^^         to 
Dhag;  for  contaimng  ashes  atter  ^.^  ^^  ^^^ 

S.the  deceased  recUnesh^^^^^^^^^^  ^^,  ,,,  ,,i 

sarcophagus,  many  of  the  poma,  ^^^^  „e  represented 

ar»d  vigorous  Etruscan  f^atu.es^  ^^^^  ^^^^  j„  ^he.r 

onthA  tombs  as  .f  at  a^^nquet^^       ^^^^^^j^^^.^.^.a- 
h.nds  dishes  or  drinkmg  vessel  .    Ro  ^^^^^  ^^ 
.       tions  imitated  from  tombs.     ^^  ^^^^^^^^  ,^^^  of  Larthia 
-         ^hich   draw)  *fine  coloured  ;er^^^^°^„    ^^^  ^^.^^,    ,, 
Seiantia,  from  the  «mete./  of  ^      ^^    ^^^  ,,Her  acces- 
this  example  the  dress,  jewelry,  c  represents  an 

ties  are  highly  chara.2ns-^^;:d,i;^ 
Etruscan  lady,  in  her  h^bu  as  s^^^^^^^^    'the  reader  must  be 
For  the  subjects  on  the  ^^J^^'L^Jj^v.  ./£<.«««■ 
deferred  to  Dennis's  D.^-^^l^^^^^^  „f  the  latest 

Hall  XXll  contams  sepulcnra. 


[XI. 

red  on  black.    The 
and  ori^'in  for  the 
e  famous  Francois 
,r,  one  of  the  finest 
ibjects  on  its  decora- 
■  it,  in  the  case  to  the 
,rkmanship.    Beyond 
re  pictoriTl  ard  less 
esonabkckgiound. 
lottery,  in  imitation  of 
B.C.    In  the  opposite 
iny  ot  them  originally 

ins  the  smaller  Greek 
he  Uffiri.  Only  close 
^  value.    The  second 

ists,  etc. 

,e  Long  Corridor  into 
ass  and  in  the  precious 
es,  etc.    In  the  cases, 
Latin  copper  money, 
cess  to  Hall  XXI.  con- 
rial,  and  smaller  sarco- 
cremation.    In  most  of 
aised,  on  the  lid  of  the 
exhibiting  well  the  able 
rhe  dead  are  represented 
t  and  often  hold  in  their 
Round  the  wall  aredecora- 
be  centre,  under  curtains 
.a-cotta  tomb  of  Larthia 
Clusium,  now  Chiasi.    In 
cushions,  and  ether  acces- 

The  Seure  represents  an 
.lived,  in  the  2nd  cent  B.C 

.hagi,  the  reader  must  be 

■emeteriesofEtruna. 

,1  monuments  of  the  latest 


XI.] 


THE   ETRUSCAN   MUSEUM 


24a 


and  most  civilised  period,  with  subjects  taken  from  Greek 
mythology  sculptured  on  the  sides.  These  are  in  most  cases 
indic.ited  on  the  labels.  (Compare  those  in  the  Uflfizi.) 
Among  the  finest  are  No.  7,  the  Calydonian  Boar ;  11,  the 
Death  of  Oemomaus  :  17,  elc,  Beneath  these  arcane  tombs 
with  figures  holding  tazzas  and  bearing  traces  of  colour. 
Near  the  middle  of  the  room,  ''beautiful  alabaster  monument 
from  Cometo,  with  Combat  of  Greeks  and  Gauls,  exquisitely 
rendered.  All  the  tombs  in  this  room  deserve  close  inspec- 
tion. In  the  centre,  under  curtains,  **splendid  sarcophagus, 
with  painted  figures  of  a  Combat  of  Greeks  and  Amazons, 
This  is  one  of  the  finest  remaining  speci.'nens  of  ancient 
painting,  but  is  said  by  Dennis  to  be  the  work  of  a  Greek 
artist.  It  comes,  however,  from  Corneto,  and  is  of  local 
alabaster :  the  colours  in  parts  are  most  fresh  and  vivid. 
Notice,  near  the  window,  several  urns  in  which  the  deceased 
are  represented  as  sleeping,  not  feasting, — this  alternative 
conception  belougiiig  as  a  rule  to  a  later  date  and  almost 
leading  up  to  the  Christian  idea.  On  the  wall  to  the  R  are 
several  duplicate  representations  of  the  same  scenes,  wliicli 
deserve  close  comparison.  The  most  frequent  subject  is 
Polyiiices  and  Eteocles.  . 


If  this  rapid  survey  of  the  Etruscan  Museum  has  inter- 
ested you  in  the  history  and  art  of  the  ancestral  Florentines 
and  Tuscans,  pursue  the  subject  further  by  reading  Dennis's 
Cities  and  Cemeteries  of  Etruria.  A  personal  visit  to  one 
or  two  of  the  Etruscan  tombs  will,  however,  teach  you  more 
than  much  reading.  The  most  accessible  of  these  is  the 
Tomb  of  the  Volumnii,  between  Perugia  and  Assisi.  It 
can  be  easily  visited  in  the  course  of  a  drive  from  one  of  these 
towns  to  the  other.  The  town  walls  and  other  remains  of 
Volterra  (Volaterras)  and  Populonia  are  in, some  ways  more 
important  but  less  easy  of  access.  From  Rome  the  extremely 
interesting  cemetery  of  Cometo  (the  ancient  Tarquinil)  can 
be  easily  visited.  It  contains  a  number  of  highly  instruc- 
tive painted  grottoes.  Good  Etruscan  collections  exist  at 
Cortona,  Perugia,  and  above  all  in  the  Vatican. 


;  •VJ-^*^''*'  -i    ■ 


xm 


THE  RESIDUUM 


.         ,     I  have  mentioned  above 

"»'"  ^risl^c  ground.  ..  «f  ^^.^^Ib.  by 
Michael  Angelo,  '"'I''  ^^^  BrMCCd  »«l»'- "' ^"„, 

the  deficiency.!  j  ^ombs. 

A  ,isi.  t.  >1««;^;"  ^a  °,o  .he  sacrist,. 

Ambrose  393  O  ^"^  ^      j^^r  after  designs  by  Brune 
erected  by  Lorenzo  the  eia   ^^^ 


M 


% 


Xll.] 


TBE  RESIDUUM 


245 


ave  mentioned  above 
,le  the  most  important 
Me  time  is  limited  to 
tend  to  imply  that  the 

I  have  not  yet  alluded 
it  interest,  which  ought, 

mk  in  the  first  order 
le  Medici  Tombs,  by 
,ty  at  San  Lorenzo ;  and 
,lcl  Chapel,  by  Maso- 
For  1  believe  it  is  best 
!n  till  he  has  assimilated 

i  1  hasten  now  to  fill  "P 

8  Medlcl  Tombs. 

.riaken  together.    Go  first 

;he  Sacristy. 
theViaCavour.    Tuni  L, 
dowrtheViaGori.    Dia- 

iaxza,  is  the  church  of  San 
Recollect  (I)  this  is  the 

Idicipalace;  (2)it  is  de<?..- 
;enzo  or  Lawrence,  pa.tron 
Hhis  is  one  of  the  oldest 

•d  190,  consecrated  by  bt. 

:neddownin  U23,  af  J^; 
ftcr  designs  by  Brunellesch.. 


In  form,  it  is  a  basilica  with  flat-covered  nave  and  vaulted 
aisles,  ended  by  a  transept.  Note  the  architrave  over  the 
columns,  supportinj^  the  arches.  The  inner  faqade  is  by 
Michael  .'.ngelo. 

Walk  straight  up  the  nave  to  the  two  pulpits,  R  and  L, 
by  Donatello  and  his  pupils.  R  pulpit,  reliefs  epresenting 
Christ  in  Hades,  Resurrection,  Ascension  :  at  the  back,  St. 
Luke  between  the  Buffeting  and  the  Martyrdom  of  St.  Law- 
rence. L  pulpit.  Crucifixion  and  Deposition  :  at  the  back, 
St.  John,  between  the  Scourging  and  the  Agony  in  the 
Garden  :  at  the  ends,  Entombment,  Christ  before  Pilate, 
Christ  before  Caiaphas.  Right  transept,  altar  with  fine 
♦marble  tabernacle  by  Desiderio  da  Settignano.  Near  the 
steps  of  the  Choir,  plain  tomb  of  Cosimo  Pater  Patriae. 

In  the  left  transept  a  door  leads  to  the  Old  Sacristy, 
by  Brunelleschi :  note  its  fine  architecture  and  proportions. 
Everything  in  it  refers  either  to  St.  Lawrence  or  to  the 
Medici  family.  Above  L  door,  statues  of  St.  Stephen  and 
St.  Lawrence  (buried  in  the  same  grave)  with  their  symbols, 
by  Donaf^Uo.  Above  R  door,  statues  of  the  Medici  Patrons, 
Cosmo  and  Damian,  with  their  symbols,  also  by  Donatello. 
On  the  L  wall,  beautiful  terra-cotta  bust  of  St  Lawrence  by 
the  same ;  above  it,  coloured  relief  of  Cosimo  Patei  Patriae. 
On  the  ceiling,  in  the  arches,  the  Four  Evangelists  with 
their  Beasts  ;  on  the  spandrels,  scenes  from  the  Life  of  John 
the  Baptist,  Patron  of  Florence,  all  in  stucco,  by  Donatello. 
Round  the  room,  pretty  frieze  of  cherubs.  Among  the 
interesting  pictures,  notice,  on  the  entrance  wall,  St. 
Lawrence  Enthroned  between  his  bi  other  deacons,  St. 
Stephen  (with  the  stones)  and  St.  Vincent  (with  the  fetters), 
an  inferior  work  of  the  School  of  Perugino.  Several  others 
refer  to  the  same  saints.  On  the  bronze  doors  (by  Dona- 
tello) are  saints  in  pairs,  too  numerous  to  specify,  but  now 
easily  identifiable  ;  on  L  door,  top,  observe  St.  Stephen  and 
St.  Lawrence.  In  the  little  room  to  which  this  door  gives 
access  is  a  Fount  lin  by  Verocchio,  with  the  Medici  balls  ; 
also,  a  modem  relief  of  the  Martyrdom  of  St.  Lawrence.  In 
the  centre  of  the  Sacristy  itself,  as  you  return,  hidden  by  a 


^mliwBatfMafjt 


246 


FLORENCE 


[xil. 


table,  is  the  marble  monument  of  Giovanni  de'  Medici  and 
his  wife,  the  parents  of  Cosimo  Pater  Patrise,  by  Donatello. 
To  the  L  of  the  entrance  is  the  monument  of  Piero  de' 
Medici,  son  of  Cosimo  and  father  of  Lorenzo,  with  his 
brother  Giovanni,  by  Verrocchio. 

Return  to  Church.  On  your  R,  in  the  L  transept,  as 
you  emerge,  is  an  ♦Annunciation  by  Filippo  Lippi,  with 
characteristic  angels.  In  the  left  aisle  is  a  large  and  ugly 
fresco  of  the  Martyrdom  of  St.  Lawrence,  by  Bronzino,  who 
uses  it  mainly  as  an  excuse  for  some  more  of  his  very  un- 
pleasant nudes,  wholly  unsuited  to  a  sacred  building.  Near 
it  is  a  *Singing  Loft  by  Donatello  and  his  pupils,  recalling 
the  architectural  portion  of  his  singing-loft  in  the  Opera  del 
Duomo.  The  Church  contains  many  other  interesting 
pictures ;  among  them.  Rosso,  Marriage  of  the  Virgin, 
(second  chapel  R,)  and  a  modern  altar-piece  with  St. 
Lawrence,  marked  by  the  gridiron  embroidered  on  his  vest- 
ments. 

The  Cloisters  and  the  adjoining  library  are  also  worth 
notice. 

But  the  main  object  of  artistic  interest  at  San  Lorenzo  is 
of  course  the  New  Sacristy,  with  the  famous  Tombs  of  the 
Medici,  by  Michael  Angelo. 

To  reach  them,  quit  the  church,  and  turn  to  the  L  into  the 
little  Piazza  Madonna.  (The  Sacristy  has  been  secii'arised, 
and  ',3  a  National  Monument.)  An  inscription  over  the 
door  tells  you  where  to  enter.    Admission,  50c. 

The  steps  to  the  Sacristy  are  to  the  L,  unnoticeable. 
Mount  them  to  the  Cappella  del  PrlnclpI,  well-propor- 
tioned, but  vulgarly  decorated  in  the  usual  gaudy  taste  of 
reigning  families  for  mere  preciousness  of  material.  It  was 
designed  by  Giovanni  de'  Medici,  and  built  in  1604. 
Granite  sarcophagi  contain  the  bodies  of  the  Grand  Ducal 
family.    The  mosaics  of  the  wall  are  costly  and  ugly. 

A  door  to  the  L  leads  along  a  passage  to  the  New 
Sacristy,  containing  the  **  Medici  Tombs,  probably  the 
finest  work  of  Michael  Angelo,  who  also  designed  the 
building.    R,  Monument  of  Giuliano  de'  Medici,  Due  de 


[xn. 

Jini  de'  Medici  and 

ktriae,  by  Donatello. 

tmcnt  of  Piero  de' 

Lorenzo,  with  his 

[the  L  transept,  as 

iFilippo  Lippi,  with 
is  a  large  and  ugly 
:e,  by  Bronzino,  who 
more  of  his  very  un- 
cred  building.     Near 
his  pupils,  recalling 
-loft  in  the  Opera  del 
ny    other   interesting 
riage  of   the  Virgin, 
altar-piece    with    St. 
ibroidered  on  his  vest- 

ibrary  are  also  worth 

rest  at  San  Lorenzo  is 
e  famous  Tombs  of  the 

nd  turn  to  the  L  into  the 
ty  has  been  secu'arised, 
U  inscription  over  the 
ission,  soc. 

to  the  L,  unnoticeable. 
Principi,    well-propor- 
he  usual  gaudy  taste  of 
,ess  of  material.    It  was 
ci,    and    built    in    1604. 
lies  of  the  Grand  Ducal 
e  costly  and  ugly. 
a  passage  to  the  New 
ci  Tombs,  probably  the 
who    also   designed    the 
ano  de'  Medici,  Due  de 


XII.] 


THE  RESIDUUM 


247 


Nemours,  representing  him  as  a  commander  ;  on  the  sarco- 
phagus, famous  figures  of  *Day  and  ♦*Night,  very  noble 
pieces  of  sciilptuie.  L,  Monument  of  Lorenzo  de'  Medici, 
Duke  of  Urbino,  represented  in  profound  thought ;  on  the 
sarcophagus,  figures  of  *Evening  and  **Dawn,  equally 
beautiful.  There  is  nothing,  however,  to  explain  in  these 
splendid  (unfinished)  works,  which  I  therefore  leave  to  your 
own  consideration.  The  other  monuments  which  were  to 
have  filled  the  Sacristy  were  never  executed. 

B.    The  BrancaccI  Chapel.  ;J 

[It  is  generally  admitted  that  close  inspection  of  the 
rescoes  of  the  BrancaccI  Chapel  in  the  Carmelite  church 
(Carmine)  on  the  other  side  of  the  Arno,  is  indispensable  to 
a  right  comprehension  of  the  origin  and  development  of 
Renaissance  painting.  Here  first  the  Giottesque  gives  way 
to  nascent  realism.  If  possible,  read  up  the  admirable 
account  in  Layard's  Kugler  before  you  go,  and  after  you 
come  back.  Also,  read  in  Mrs.  Jameson  the  story  of 
Petronilla,  under  St.  Peter,  These  brief  notes  are  only 
meant  to  be  consulted  on  the  spot,  in  front  of  the  pictures.] 

Cross  the  Ponte  Santa  Trinitk  to  Santa  Maria  del 
Carmine— the  church  of  Filippo  Lippi's  monastery.  It  was 
burnt  down  in  1771,  and  entirely  rebuilt,  so  that  most  of  it 
need  not  detain  you.  But  the  BrancaccI  Chapel  in  the 
R  transept  survived,  with  its  famous  frescoes.  These  were 
painted  about  1423  and  following  years  by  Masolino  and 
his  pupil  Macaccio,  ana  completed  in  1484  by  Filippino 
Lippi.  The  earlier  works  mark  time  for  the  Renaissance. 
Many  of  the  scenes  contain  several  distinct  episodes  com- 
bined into  one  picture. 

R  pillar,  above ;  Masolino,  Adam  and'Eve  in  Paradise  ; 
first  beginnings  of  the  naturalistic  nude  ;  somewhat  stiff  and 
unidealised,  but  by  no  means  without  dawning  grace  and 
beauty.  L  pillar ;  above  ;  Masaccio,  Adam  and  Eve  driven 
from  Eden  ;  far  finer  treatment  of  the  nude  ;  better  modelled 
and  more  beautiful.     L  pillar;  below  ;  (I  have  my  reasons 


I'Md^WMNfl" 


m 


FLORENCE 


[XII. 


for  this  eccentric  order)  Filippino  Lippi,  St.  Paul  visits  St. 
Peter  in  prison.  R  plllir ;  below  ;  Lippi  arain,  an  angel 
lieliwij  St.  Peter  from  prison. 

R  wall;  above;  Ilcaolino,  St.  Peter  restores  Tabitha  to 
life,  (or,  much  more  probably,  the  Cure  of  Petronilla,  St. 
Peter's  invalid  dau^-hter — a  curious  and  repulsive  legend, 
for  which  see  Mrs.  Jameson)  ;  and,  still  in  the  same  picture, 
L,  the  Healing  of  the  Cripple  at  the  Beautiful  Gate.  Maso- 
lino  can  be  readily  detected  by  the  long  and  sler.der  pro- 
portions o'  his  figures,  by  his  treatment  of  draptry.  and 
cfte»  (bvun  for  t'le  merest  novice)  by  his  peculiar  capes  and 
head-dresses.  R  wall ;  below  ;  Lippi,  the  Martyrdom  of 
St.  Peter,  also  in  two  scenes ;  L,  St.  Peter  and  St  Paul 
before  the  Roman  tribunal ;  R,  the  Crucifixion  of  St. 
Peter. 

L  wall ;  above  ;  Masaccio,  the  Tribute  Money,  in  three 
successive  scenes ;  centre,  the  tax-gatherer  demands  the 
tax  of  Christ,  who  sends  Peter  to  obtain  it ;  t,  Peter  catches 
the  fish  with  the  "  penny  "  in  its  mouth  ;  R,  he  gives  it  to 
the  tax-gatherer.  Notice  the  every-day  Florentine  costume 
of  the  latter,  as  CDntrasted  with  the  flowing  robes  of  Christ 
and  the  Apostles,  borrowed  from  earlier  Giottesque  pre- 
cedent (though  of  course  with  immense  improvement  in  the 
treatment),  and  handed  on  later  to  Filippino  Lippi,  Fra 
Bartolomnieo,  and  Raphael.  L  waII  ;  b«low  ;  partly  by 
Masaccio,  partly  by  Filippino  Lippi,  (Layard  and  Eastlake) 
double  subject ;  centre  and  L,  Simon  Magus  challenges  the 
Apostles  to  raise  p  dead  youti  ♦©  life  ;  they  accept  ;  Simon 
tries,  PTid  fails  ;  St.  Peter  and  St.  Paul  succeed  ;  from  the 
Golden  Legend  :  then,  R,  Homage  paid  to  Pet^',  as  in  the 
Landini  of  the  Uffiii.  i  ^e  5  figures  nea/lv  I  the  centre, 
anu  the  10  figures  about  tb-^  kneelinf  naked  l»cy  are 
attributed  to  Filippinu  ;  the  rest,  to  Masaccio.  Try  to 
recognise  their  diiff  rent  hands  in  them. 

Altar  wall ;  L  side  ;  above  ;  Masolino,  Preaching  of  St. 
Peter :  beicw,  Masaccio,  the  Shadow  of  Peter  (accompanied 
by  John)  curing  the  Sick  and  Defoimed.  R  side  ;  abov  : 
Masaccio,  St.  Pe.er  Baptising ;  (famous  nude,  an  epoch  in 


'm?!^;i!P^^"'^i^ 


[XII. 

f^,  St.  Paul  visits  St. 
ppi  atrain,  an  angel 

.estores  Tabitha  to 
•e  of  Petronilla,  St. 
irt  repulsive  legend, 
in  the  same  picture, 
utiful  Gate.  Maso- 
ong  and  sler.der  pro- 
ent  of  drapery.,  and 
s  peculiar  capes  and 
>i,  the  Martyrdom  of 
,  Peter  and  St  Paul 
le    Crucifixion  of  St. 

ibute  Money,  in  three 
jatherer  demands  the 
lin  it ;  L,  Peter  catches 
ulh  ;   R,  he  gives  it  to 
lay  Florentine  costume 
Rowing  robes  of  Christ 
earlier  Giottesque  pre- 
nse  improvement  in  the 
;o   Filippino   Lippi,  Fra 
^hII  ;  below  ;   partly  by 
,  (Layard  and  Eastlake) 
n  Magus  challenges  the 
re  ;  they  accept  ;  Simon 
Paul  succeed  :  from  the 
paid  to  Pet  ^',  as  in  the 
res  nearlv  1     the  centre, 
leelinf    naked    bey    are 
,  to   Masaccio.     Try  to 
lem. 

asolino.  Preaching  of  St. 
)w  of  Peter  (accompanied 
foimed.  R  side;  jibov' ; 
unous  nude,  an  epoch  in 


Xlf.] 


THE  RESIDUUM 


249 


"ll 


art  ;)  below,  Masaccio,  St  Peter  and  St.  John  distributing 
alms  ;  at  thair  feet,  probably,  the  dead  body  of  Ananias. 

Thoroughly  to  understand  these  frescoes,  you  should 
previously  have  seen  Masolino's  work  at  Castiglione  d'Olona, 
(best  visited  from  Varese.)  But,  in  any  case,  if  you  com- 
pare Masolino's  part  in  these  paintings  with  previous 
Giottesque  art,  you  will  recognise  the  distinct  advance  in 
composition  and  figure- painting  which  he  made  on  his 
predecessors ;  and  if  you  then  look  at  his  far  greater 
scholar,  Masaccio,  especially  in  the  subject  of  the  Tribute 
Money,  you  will  observe  how  much  progress  that  original 
genius  made  in  anatomy,  drawing,  modelling,  conception  of 
the  nude,  realistic  presentment,  treatment  of  drapery,  and 
feeling  for  landscape.  Read  all  this  subject  up  in  Layard's 
Kugler,  the  same  evening,  and  then  come  again  next  day 
to  revisit  and  reconsider. 

The  Sacristy  contains  a  series  of  frescoes  from  the  life 
of  St  Cecilia,  closely  coinciding  in  subject  with  those  in  the 
Ufifizi,  but  with  a  few  more  scenes  added.  I  think  they 
need  no  further  elucidation.  They  have  been  attributed  to 
Agnolo  Gaddi  or  to  Spinello  Areiino. 

In  the  cloister  (approached  by  a  door  from  the  R  aisle) 
you  will  find  a  ruined  ht%co  by  Masaccio  of  the  Consecra- 
tion of  this  Church ;  and  a  Madonna  and  Saints  by  Giovanni 
da  Milano. 

C.    The  Annunziata 

In  order  fully  to  understand  Andrea  del  Sarto,  and  to 
know  what  height  can  be  reached  by  fresco,  you  must  go  to 
thi:  Annunziata. 

T;>e  Church  of  the  Santissima  Annunriata,  in  the 
Piazza  called  after  it,  was  originally  founded  in  1250,  at  the 
period  when  the  cult  of  the  Blessed  Virgin  was  rapidly  grow- 
ing in  depth  and  intensity  throughout  all  Christendom.  As 
it  stands,  however,  it  is  mainly  of  the  15th  to  the  !7ih  century. 
Over  the  central  door  of  the  three  in  the  portico  is  e.  mosaic 
by  Davide  Ghirlandajo,  with  the  appropriate  subject  of  the 
Annunciation.  The  church  belonged  to  an  adjacent  Servile 
Monastery,  to  which  the  door  on  the  left  gives  access. 


'  X^Jtte(Wl«{ndM»n<»<<tti«uMiM 


250 


FLORENCE 


[XIL 


The  central  door  leads  to  an  atrium,  after  the  early 
fashion,  with  a  lo):gi(i  doubtless  intended  to  represent  that 
in  which  the  Annunciation  touk  place,  as  seen  in  all  earl/ 
picture].  It  is  covered  with  frescoes,  whose  unsyinmetrical 
modern  glazed  arrangement  sadly  obscures  their  original 
order.  L  of  the  main  entrance,  facing  you  as  you  enter,  is 
the  Nativity,  with  the  Madonna  adoring  the  Child,  (ruined) 
by  Baldovinetti,  1460:  (it  was  painted  on  a  dry  wall,  and 
has  crumbled  away  :)  R  the  arrival  of  the  Magi,  by  Andrea 
del  Sarto,  a  very  fine  work,  but  with  less  refined  colour  than 
is  usual  wiih  that  master.  The  loggia  to  the  R  has  frescoes 
of  the  History  of  the  Virgin  (patroness  of  the  church)  by 
Andrea  del  Sarto  and  his  pupils.  The  series  begins  on  the 
inner  angle,  next  to  the  Arrival  of  the  Magi :  (i)  **Birth  of 
the  Virgin,  by  Andrea  del  Sarto,  1514  ;  a  noble  work,  with 
all  the  conventional  features  retained,  St.  Anne  in  bed,  the 
basin,  etc.  (2)  The  Presentation  in  the  Temple,  never 
painted.  (3)  The  Marriage  of  the  Virgin,  by  Franciabigio, 
1513,  sndly  damageH.  but  with  the  figures  recalling  the 
motives  in  the  Fra  Angelico.  Th^  angry  suitor,  rejected 
by  Perugino  and  Raphael,  here  raises  his  hand  to  strike 
the  Joseph,  as  in  earlier  treatments.  (4)  The  Visitation,  by 
Pontormo,  1516,  with  the  principal  figures  arranged  as  in 
Mariotto  Albertinelli,  but  with  »<7arch  in  the  background,  its 
place  being  taken  by  a  scallop-shell  niche  of  Renaissance 
architecture.  (5)  The  Assumption  of  Our  Lady,  b''  Rosso 
Fiorentino,  1517;  inferior  in  colour  and  execution  to  the 
others. 

The  series  to  the  L,  which  also  begins  near  the  inner  door- 
way, represents  incidents  in  the  Life  of  San  Filippo  Benizzi, 
the  great  saint  of  the  Ser/ites  (i)  *San  Filippo  is  con- 
verted, divests  himself  of  his  worldly  goods  and  clothing, 
and  assumes  the  habit  of  the  order,  by  Cosimo  Rosselli ; 
less  harsh  than  is  his  wont  and  with  a  fine  treatment  of  the 
nude  :  compare  with  similar  episodes  in  the  Life  of  St.  Fran- 
cis. (2)  ''^San  Filippo,  going  to  Viterbo,  divides  bis  cloak 
with  a  leper,  whom  he  cures,  by  Andrea  del  Sirto  :  the  Ser- 
vile robes  (really  black,  but  treated  as  blue)  lend  themselves 


[XII. 

Im,  after  the  early 

:d  to  represent  that 

|as  seen  in  all  early 

hose  unsymmetrtcal 

[cures    their  original 

you  as  you  enter,  is 

|g  the  Child,  (ruined) 

on  a  dry  wall,  and 

he  Magi,  by  Andrea 

iS  refined  colour  than 

to  the  R  has  frescoes 

33  of  the  church)  by 

!  series  begins  on  the 

Magi:  (i)**Birth  of 

;  a  noble  work,  with 

St.  Anne  in  bed,  the 

the    Temple,   never 

rgin,  by  Franciabigio, 

figures  recalling  the 

angry  suitor,  rejected 

es  his  hand  to  strike 

(4)  The  Visitation,  by 

figures  arranged  as  in 

I  in  the  background,  its 

I  niche  of  Renaissance 

f  Our   Lady,  b'-  Rosso 

and  execution  to  the 

ins  near  the  inner  door- 
of  San  Filippo  Benizzi, 
)  *San  Filippo  is  con- 
ly  goods  and  clothing, 
;(,  by  Cosimo  Rosselli ; 
a  fine  featment  of  the 
.  in  the  Life  of  St.  Fran- 
terbo,  divides  his  cloak 
irea  del  Sirto  :  the  Ser- 
is  blue)  lend  themselves 


XII.] 


THE   RESIDUUM 


25! 


admirably  to  the  painter's  graceful  colouring.  (3)  ♦•Gam- 
blers who  insult  San  F'ilippo  are  struck  by  lightning  ;  Andrea. 
(4)  *A  woman  possessed  of  a  devil  is  exorcised  by  San 
Filippo.  Also  by  Andrea.  (5)  *A  dead  child  is  resuscitated 
on  touching  the  Saint's  bier,  by  the  same.  This  is  a  late 
instance  of  the  dead  and  living  figure  being  represented 
simultaneously  in  the  same  picture.  (6)  Children  are  hetiled 
of  diseases  by  kissing  his  robes  or  relics  ;  again  by  Andrea, 
but  less  i>l(:asing  in  colour. 

The  interior  of  the  church,  with  its  double  series  of  inter- 
communicatini;  jhapels,  has  been  so  entirely  modernized 
and  covered  with  gewgaws  as  to  be  uninteresting.  To  the 
left,  as  you  enter,  is  the  vulgarized  Chapel  of  the  Vergine 
Annunziata,  covered  with  a  baldacchino  erected  in  1448, 
from  a  design  by  Michelozzo,  and  full  of  ugly  late  silver- 
work.  It  contains,  behind  the  altar,  a  miraculous  13th 
century  picture  of  the  Madonna.  The  last  chapel  but  one 
on  the  left  has  a  good  Assumption  of  the  M,->donna  in  a 
mandorla,  by  Perugino  :  below  are  the  Apostles,  looking 
upward  :  the  one  in  the  centre  is  probably  St.  Thomas,  but 
there  is  no  Sacra  Cintola.  The  angels  are  noteworthy. 
There  is  another  Perugino,  Madonna  and  Saints,  in  one  of 
the  Choir  Chapels. 

The  door  to  the  L,  in  the  portico,  outside  the  church, 
gives  access  to  the  cloisters  of  the  Servite  Monastery,  with 
many  tombs  of  the  order  and  others.  In  a  lunette  opposite 
you  as  you  enter,  under  glass,  is  a  **fresco  of  the  Holy 
Family,  by  Andrea  del  Sarto,  known  as  the  Madonna  del 
Sacco,  and  very  charming.  It  represents  the  Repose  on 
the  Flight  into  Egypt,  and  takes  its  name  from  the  sack  of 
hay  on  which  St.  Joseph  is  seated. 

D.    Santa  TrinltiL 

The  exterior  is  uninteresting.  The  interior  is  good 
and  impressive  Gothic;  about  1250,  attributed  to  Niccol6 
Pisano.  L  aisle :  2nd  chapel,  copy  of  Raphael's  (Dresden) 
Madonna  di  San  Sisto.  3rd  chapel.  Annunciation,  probably 
by  Neri  di  Bicci.    4th  chapel,  altar-piece,  Coronation  of  the 


352 


FLORENCE 


[XII. 


Virgin,  Giottesque  ;  the  laintt  are  named  on  their  haloet. 
5th  chapel,  lean  wooden  penitent  Mii)(dalen  in  the  deiert, 
by  Desiderio  da  Settignuno,  completed  by  Uenedetto  da 
Majano.  R  alale,  beginning  at  cl.c-  bottom,  ist  chapel, 
St.  Maximin  brings  the  Eucharist  to  St.  Mary  Magdalen  in 
the  Sainic  Uaume  or  cave.  3rd  clupel,  Giottetque  Madonna 
and  Child,  with  L,  St.  Andrew  and  St.  Catherine ;  K,  St. 
Nicolas  and  St.  Lucy,  4th  chapel,  closed  by  a  screen  ; 
excellent  frescoes,  much  restored,  probably  by  Don  Lorenzo 
Monaco  ;  History  nf  the  Virgin,  the  usual  series  ;  L  wall, 
above,  Joachim  expelled  from  the  Temple  ;  below,  Joachim 
and  Anna  at  the  Golden  Gate  ;  ultar  wall ;  I.,  liirth  of  the 
Virgin  ;  K,  her  Presentation  in  the  Temple ;  altar-piece, 
certainly  by  Don  Lorenzo,  ^Annunciation  ;  R  wall,  below, 
Marriage  of  the  Virgin  ;  above,  her  Death.  Note  also  the 
frescoes  on  the  vaulting.  This  is  a  good  place  to  study 
Don  Lorenzo ;  compare  these  with  the  two  similar  earlier 
series  by  Taddeo  Gaddi  and  Giovanni  da  Milaiio  at  .Santa 
Croce.  5th  chr.pel,  *inarble  altar  by  Benedetto  da  Rovez- 
zano.  In  the  transept,  or  rather,  2nd  chapel  K  of  High 
Altar  (at  the  time  of  writing,  cut  off  for  restoration)  known 
as  the  Chapel  of  the  Sassctti,  **frescoes  from  the  life  of 
St.  Francis,  by  Dom.  Ghirhindajo,  1485  ;  subjects  and 
grouping  nearly  the  same  as  those  of  the  GiotiDS  in  Santa 
Croce,  with  which  compare  these  Renaissance  adaptations. 
Begin  at  upper  L  compartment,  and  read  round,  (i)  St. 
Francis  quits  his  father's  house,  and  renounces  his  inheri- 
tance, (a)  Pope  Honorius  approves  the  Rules  of  the  Order. 
(3)  St.  Francis  offers  to  undergo  the  Ordeal  of  Fire  before 
the  Sultan.  (4)  St.  Francis  receiving  the  Stigmata  ;  Pisa 
and  its  Campanile  in  the  ba  (ground.  (5)  A  local  Florentine 
subject;  St.  Francis  resto.  3  to  life  a  child  of  the  Spini 
family,  who  had  fallen  from  a  window.  The  scene  is  in 
front  of  this  very  church  ;  in  the  background,  the  Palazzo 
Spini  (now  Vieusseux's  library),  and  the  (old)  Ponte  Santa 
Trinitk.  (6)  Death  of  St.  Francis.  Compare  this  fresco  in 
particular  with  the  Giotto,  the  composition  of  which  it  closely 
follows.    As  usual,  Ghirlandajo  introduces  numerous  por- 


!Hl^l'->k<r^-''f^'-V:!V  iAyjiSJWf  *;«■ 


[XII. 


led  on  their  haloet. 

Idulen  in  the  deiert, 

Id  by  Uenedetto  da 

ttom.     itt  chapel, 

Mary  Magdalen  in 

IGiottctque  Madonna 

t.  Catherine  ;   R,  St. 

closed    by  a  screen  ; 

lably  by  Oon  Lorenzo 

usual  ieries  ;  L  wall, 

iiplc  ;  below,  Joachim 

wall ;  I.,  Uirlh  of  the 

Temple ;  altar-piece, 

iation  :  R  wall,  below, 

Jcath.     Note  also  the 

good  place  to  study 

e  two  similar  earlier 

ai  da  Milano  at  Santa 

Benedetto  da  Kovez- 

nd  chapel   R   of   High 

for  restoration)  known 

iscoes  from  the  life  of 

,    1485  ;    subjects    and 

(f  the  Gioiios  in  Santa 

enaissance  adaptations. 

id  read  round.     (1)  St. 

d  renounces  his  inheri- 

,  the  Rules  of  the  Order. 

5  Ordeal  of  Fire  before 

ing  the  Stigmata  ;  Pisa 

I.    (5)  A  local  Florentine 

fe  a  child  of  the  Spini 

idow.    The  scene  is  in 

background,  the  Palazzo 

1  the  (old)  Ponte  Santa 

Compare  this  fresco  in 

ssition  of  which  it  closely 

troduces  numerous  por- 


XI..] 


THE   REStnVVU 


253 


traiti  of  contemporaries  ;  if  you  wish  to  identify  them,  se« 
Lafunestre.  Before  the  altar,  the  donors,  Francesco  Sassetti 
and  his  wife,  also  by  Ghiil.indajo  ;  note  that  Francis  is  the 
donor's  name.saint.  On  the  ceiling,  Sibyls,  (The  Adoration 
of  the  Shepherds,  in  thr  Uelle  Arti,  by  Ghirlandajo,  was 
originally  the  altar-piece  ot  this  chapel.)  The  *tontbs  of 
the  Sassetti  are  by  Giuliano  da  Sangallo. 

E.    Other  Churche*. 

Florcncf!  is  so  inexhaustible  that  for  the  other  churchei  I 
can  only  give  a  few  brief  hints,  which  the  reader  who  has 
followed  me  so  far  will  now,  I  hope,  be  in  a  position  to  fill 
in  for  himself. 

5anto  Splrlto  is  an  Augustlnian  church,  attached  to  a 
monastery.  It  has  38  chapels,  almost  all  with  good  altar- 
pieces  J  the  interior  is  vast  and  impressive  ;  mainly  by 
Brunellcschi.  St.  T'Jicolas  is  here  a  locally  important  saint. 
(A  neighbouring  parish  is  San  Niccolii.)  The  most  remark- 
able pictures  among  many  are,  5th  chapel  (beginning  from 
u  aisle),  ♦Madonna  with  St.  Nicolas  and  St.  Catherine,  by 
Filippino  Lippi ;  and,  29th  chapel,  ♦♦masterpiece  of  an  un- 
known artist,  the  Trinity  with  St.  Catherine  and  the  penitent 
Magdalen,— a  most  striking  work,  remarkable  for  its  ascetic 
and  morbid  beauty.  For  the  rest,  you  must  be  content  with 
Baedeker,  or  follow  Lafenesire.     Good  cloisters. 

The  Ogrnissanti  is  a  Franciscan  church,  also  attached  to 
a  monastery.  It  is  dedicated  to  AH  Saints  ;  hence  the 
character  of  the  group  in  the  Giovanni  della  Robbia  which 
(ills  the  lunette  over  the  doorway.  Its  best  pictures  are  a 
♦St.  Augustine  by  Botticelli,  and  a  ♦St.  Jerome  by  Dom. 
Ghirlandajo, — two  doctors  of  the  Church,  the  other  two 
never  tinished,— on  the  R  and  L  of  the  nave.  The  cloisters 
have  frescoes  from  the  life  of  St.  Francis  and  Franciscan 
saints.     The  Refectory  I  will  notice  later. 

The  Badla,  opposite  the  Bargello,  should  be  visited,  by 
those  who  have  time,  for  the  sake  of  the  glorious  Filippino 
Lippi  of  the  ♦♦Madonna  appearing  to  St.  Hctnard,  one  of 
his  earliest  works,  and  perhaps  his  finest.     It  has  also  some 


254 


FLORENCE 


[\n. 


beautiful  tombs  by  Mino  da  Fiesole ;  St.  Leonard  with  the 
fetters  in  on»  of  them  will  by  this  time  be  familiar. 

San  Fell  ',e,  San  Niccolo,  etc.,  you  need  only  visit  when 
you  have  thoroughly  seen  everything  else  in  Florence. 

F.    Minor  Sights. 

Among  these  I  musi,  lump  not  a  few  works  of  very  high 
value. 

A  comparative  study  of  the  various  representations  of  the 
Cenacolo  (or  Last  Supper),  usually  in  Refectories  of  sup- 
pressed monasteries,  is  very  interesting.  We  have  already 
seen  those  at  Santa  Croce  (Giottesque)  and  at  San  Marco 
(Ghirlandajo.)  There  is  a  second  Ghirlandajo,  almost  a 
replica,  in  the  Refectory  of  the  OgnissantI ;  a  notice  marks 
the  door,  just  beyond  the  church  ;  admission,  daily,  25c. ; 
free  on  Sunday.  The  Franciscans  wanted  to  have  as  good 
3  r)ict'jre  as  their  Dominican  brethren.  The  room  contains 
several  other  interesting  works  both  in  paintmg  and  sculp 
ture.  A  far  more  lovely  Last  Supper  is  that  known  as  the 
**  Cenacolo  di  Fuligno,  in  the  Via  Faerza  ;  notice  on  the 
door  ;  admission,  as  at  the  Ognissanti.  It  occupies  the  end 
wall  of  the  Refectory  of  the  ola  monistery  of  Sant'  Onofrio, 
and  bebngs  to  the  School  of  Perugino.  Ic  was  once  at- 
tributet  to  Raphael,  and  mo.e  lately  has  been  assig;ied  to 
Gerin  ^  da  Pistoja  ;  if  so,  it  is  by  many  stages  his  finest  work. 
Whoever  painted  it,  however,  it  is  one  of  the  most  beauti- 
ful things  in  Florence.  Yet  another  Last  Supper  is  to  be 
found  in  the  R'ifectory  of  the  old  Convent  of  Sant'  Apol- 
lonia  in  the  street  of  the  same  name  ;  it  is  by  Andrea  del 
Castagno,  a  large  number  of  whose  other  works  have  lately 
been  funsferred  hither,  so  that  this  little  museum  oflPers 
the  best  opportunity  of  studying  that  able  and  vigorous 
buc  harsh  and  soulless  master.  Admission,  as  in  the  two 
previoi's  instances.  See  also  the  *  Andrea  del  Sarto  at  San 
Salvl.  I  advise  a  visit  to  these  four  little  shows  in  close 
succession.  Read  Mrs,  Jameson  on  the  subject  beforehand, 
or  take  her  witS  you. 

If  possible,  walk  one  day  through  the  flospltal  of  Santa 


IXII. 

It.  Leonard  with  the 

J>e  familiar. 

|nned  only  visit  when 

se  in  Florence. 


works  of  very  high 

epresentationsof  the 

1  Refectories  of  sup- 

g.    We  have  already 

e)  and  at  San  Marco 

Jhirlandajo,   almost  a 

santi ;  a  notice  marks 

dmission,  daily,  25c. ; 

inted  to  have  as  good 

.     The  room  contains 

n  paintmg  -md  sculp 

:r  is  that  known  as  the 

Faerza  ;  notice  on  the 

:i.     It  occupies  the  end 

istery  of  Sant'  Onofrio, 

gino.     It  was  once  at- 

y  has  been  assigied  to 

y  stages  his  fine-t  work. 

ne  of  the  most  beauti- 

er  Last  Supper  is  to  be 

onvent  of  Sant'  Apol- 

e  ;  it  is  by  Andrea  del 

other  works  have  lately 

is  little  museum  offers 

hat  able  and   vigorous 

Imission,  as  in  the  two 

\ndrea  del  Sarto  at  San 

lur  little  shows  in  close 

the  subject  beforehand, 

1  the  Hospital  of  Sunta 


XII.]- 


THE  RESIDUUM 


255 


Maria  Nuova,  founded  by  Folco  Portinari  (father  of  Dante's 
Beatrice),  and   full  of  memories   of  the    Portinari   family. 
Then,  visit  the  little  Picture  Qailery  of  the  Hospital  (the 
Custode  at  the  door  conducts  you  to  it  ;  soc.  each.)     It  con- 
tains many  objects  of  interest,  and  two  masterpieces.     One 
is  a  **  triptych  by  Hugo  van  der  Goes,  the  Flemish  painter, 
produced  for  Tommaso  Portinari,  agent  of  the  Medici  at 
Bruges,  and  brought  by  him  to  Florence  ;  it  is  doubtlesu  the 
finest  Flemish  work  in  the  city.     Centre,  the  Nativity,  with 
St.  Joseph  (?)  and  adoring  shepherds,  as  well  as  charming 
angels,    and    some  exquisite    irises.     Every    straw,    every 
columbine,  every  vase  in  this  admirable  work  should  be 
minutely  noticed.    L  wing,  the  donor's  wife  and  daughter, 
presented  by  their  patron  saints,  St.   Mary  Magdalen,  with 
her  alabaster  box,  and  St.  Margaret,  with  her  dragon.    R 
wing,  the  doner  and  his  two  sons,  presented  by  St.  Matthew 
(?)  and  St.  Antony  Abbot     It  deserves  long  and  attentive 
study.     In  the  next  ro^m,  Fra  Bartolommeo  and   Mariotto 
Albertinelli,  *  Last  Judgment,  much  damaged,  but  important 
as  a  link  in  a  long  chain  of  similar  subjects.    See  in  this  con- 
nection the  great  fresco  in  the  Campo  Santo  at  Pisi,  the  one 
at  Santa  Maria  Novella,  by  Orcagna,  the  panel  here,  to  collate 
with  it,  and  finally,  Michael  Angelo's  marvellous  moderniza- 
tion in  the  Sistine  Chapel  of  the  Vatican,  which  takes  many 
points  from  this  and  the  earlier  representations.    The  rooms 
also  contain  several  other  interestmg  pictures. 

The  Chapter-house  of  the  Convent  cf  Santa  Maria  Mad- 
dalena  del  PazzI  (a  local  saint,  belonging  to  the  Pazzi 
family  ;  see  Santa  Croce),  contains  a  noble  **Crucifixion  by 
Perugino,  one  of  the  finest  single  nicturjs  in  Florence.  Ad- 
mission, daily,  250.  ;  free  on  Sunday.  It  is  in  three  com- 
partments. Centre,  Crucifixion,  with  Mary  Magdalen,  kneel- 
ing •  L  and  R,  the  Madonna  and  St.  Jchn,  standing ;  and  St. 
Bernard  and  St.  Benedict  kneeling.  The  remarkable  abstract- 
ness  and  isolation  of  Perugino's  figures  is  nowhere  more 
observable  ;  it  comes  out  even  in  the  three  trees  of  the  L 
background. 
The  Spedale  degli  innocent!,  or  Foundling  Hospital. 


„^ 


256 


FLORENCE 


[XII. 


near  the  Annunziata,  should  be  visited  both  for  Us  charming 
babies,  by  Andrea  della  Robbia,  and  for  its  beautiful  **altar- 
piece  of  the  Adoration  of  the  Magi,  with  St.  John  Baptist 
of  Florence  presenting  two  of  the  massacred  Innocents,  by 
Dom.  Ghirlandajo.  This  is  a  lovely  and  appropriate  picture, 
the  full  meaning  of  which  you  will  now  be  in  a  position  to 
understand.  (The  church  is  dedicated  to  the  Holy  In- 
nocents.) The  lovely  landscape  and  accessories  need  no 
i)ush.  In  the  background,  the  Massacre  of  the  Innocents, 
the  Announcement  to  the  Shepherds,  etc.  A  masterpiece 
to  study. 

For  everything  else  within  the  town,  I  must  hand  you 
over  to  Baedeker,  Hare,  Miss  Horner,  and  Lafenestre. 

A  stray  afternoon  may  well  be  devoted  to  the  queer  little 
church  of  San  Leonardo  in  Arcetri,  outside  the  town,  on 
the  s.  side  of  the  Arno.  To  reach  it,  cross  the  Ponte  Vecchio, 
and  take  the  second  turn  on  your  L,  under  an  arch  that 
spans  the  roadway.  Then  follow  the  steep  paved  way  of  the 
Via  della  Costa  San  Giorgio  (which  will  probably  reveal  to 
you  an  unexpected  side  of  Florence).  The  Porta  San 
Giorgio,  which  pierces  the  old  walls  at  the  top,  has  a  fresco 
of  the  Madonna,  between  St  George  and  St.  Leonard,  the 
latter  bearing  the  fetters  which  are  his  usual  symbol :  on  its 
outer  face  is  a  good  relief  of  St.  George  and  the  Dragon, 
(Note  relevancy  to  the  parishes  of  San  Giorgio,  below,  and 
San  Leonardo,  above  it.)  Follow  the  road  straight  to  the 
little  church  of  San  Leonardo  on  your  L.  (If  closed,  ring  at 
the  door  of  the  cottage  in  the  garden  to  the  R  of  its  facade.) 

The  chief  object  of  interest  within  is  the  pulpit,  with 
rude  reliefs  of  the  12th  century,  said  to  be  the  oldest  surviv- 
ing pulpit-carvings,  brought  hither  from  San  Pietro  Scherag- 
gio,  near  the  Palazzo  Vecrhio.  It  has  been  suggested  that 
these  quaint  old  works  gave  hint?  to  Niccol6  Pisano  for  his 
far  ..IS  and  beautiful  pulpit  in  the  Baptistery  at  Pisa.  But 
it  must  also  be  remembered, _;?rj/,  that  these  subjects  already 
shew  every  trace  of  being  conventionalised,  so  that  in  all 
probability  many  such  pulpits  once  existed,  of  which 
Niccol6's  is  only  the  finest  artistic  outcome ;  and,  second. 


[XII. 

jth  for  its  charming 

its  beautiful  **altar- 

^h  St.  John  Baptist 

kcred  Innocents,  by 

appropriate  picture, 

be  in  a  position  to 

;d  to  the  Holy  In- 

accessories  need  no 

;re  of  the  Innocents, 

etc.    A  masterpiece 

n,  I  must  hand  you 

and  Lafenestre. 

ed  to  the  queer  little 

outside  the  town,  on 
ossthePonteVecchio, 
,  under  an  arch  that 
steep  paved  way  of  the 
vill  probably  reveal  to 
ce).     The   Porta  San 
at  the  top,  has  a  fresco 
t  and  St.  Leonard,  the 
\s  usual  symbol :  on  its 
eorge  and  the  Dragon. 
San  Giorgio,  below,  and 
he  road  straight  to  the 
jrL.    (If  closed,  ring  at 
1  to  the  R  of  its  fafade.) 
lin  is  the  pulpit,  with 
I  to  be  the  oldest  surviv- 
rom  San  Pietro  Scherag- 
las  been  suggested  that 
J  Niccolb  Pisano  for  his 
Baptistery  at  Pisa.    But 
hat  these  subjects  already 
tionalised,  so  that  in  all 
once   existed,    of   which 
ic  outcome ;  and,  secotiJ. 


r* 


Xll.] 


THF      ESIDUUM 


357 


that  the  figure  here  which  most  suggests  (or  rather  fore- 
shadows) Niccolft  (the  recumbent  Madonna  in  the  Nativity) 
is  the  analogue  of  the  very  one  in  which  that  extraordinary 
genius  most  closely  imitated  an  antique  model  in  the  Campo 
Santo  at  Pisa.  We  may  therefore  conclude  that  Niccol6 
merely  adopted  a  conventional  series,  common  at  his  time, 
of  which  this  is  an  early  and  inferior  example,  but  that  he 
marvellously  vivified  it  by  quasi-antique  treatment  of  the 
faces,  figures,  draperies,  and  attitudes,  at  the  same  time  that 
he  immensely  enriched  the  composition  after  the  example  of 
the  antique  sarcophagi.  The  series  as  it  at  present  exists 
on  this  pulpit  is  out  of  chronological  order,  doubtless  owing 
to  incorrect  putting  toge*her  at  the  transference  hither. 
The  scenes  are,  from  L  to  R,  Presentation  in  the  Temple  ; 
Baptism  of  Christ ;  Adoration  of  the  Magi ;  Madonna  rising 
from  the  stem  of  Jesse ;  Deposition  from  the  Cross  j  and 
Nativity.  All  should  be  closely  observed  as  early  embodi- 
ments of  the  scenes  they  represent. 

Among  the  older  pictures  in  the  church,  the  roost  interest- 
ing are,  on  the  same  wall,  the  Madonna  dropping  the  Sacra 
Cintola  to  St.  Thomas,  attended  by  St.  Peter,  St.  Jerome, 
etc. ;  and,  on  the  opposite  wall.  Madonna  with  St.  Leonard 
(holding  the  fetters)  and  other  saints  readily  recognised. 

You  can  vary  the  walk,  on  your  return,  by  diverging  Just 
outside  the  gate  and  following  the  path  which  leads  along 
the  old  walls,  with  delicious  glimpses  across  the  ravine 
towards  the  Piazzale,  and  re-entering  the  town  at  the  Porta 
San  Minialo. 


I  am  always  grateful  to  a  book,  however  inadequate,  which 
has  taught  me  something.  Nobody  could  be  more  aware 
than  its  author  of  the  shortcomings  of  this  one.  I  shall  be 
content  if  my  readers  find,  among  many  faults,  that  it  he's 
helped  to  teach  them  how  to  see  FlT-ence.  Others  m.'.y 
know  Floren»e  more  intimately  :  no  one  could  love  it  better. 


INDEX 


Accademia  delle  Belle  Arti,  The, 

88-137, 
Albany,  Countess  of,  ai,  33. 
Albert!,  Leon  Battista,  35. 
Albertinelli,  Mariotto,  154. 
Alexander,  The  Dying,  183. 
Alfieri,  31. 
Andrea  del  Sarto,  loi,  150,  154, 

186,  189, 193, 195, 199,  349-351. 
Annunziata,  The,  349-351. 
Armour,  Collections  of,  305,  313. 
Arno,  The,  13,  14. 
Arnolfo  di  Cambio,  19,  53. 

Badia,  The,  353. 

Baptistery,  The,  15,  53-63. 

Bargello,  The,  305-333. 

Belle  Arti,  The,  17,  88-»37. 

Bellini,  167. 

Benedetto  da  Rovezzano,  307. 

Benedict,  St. ,  336. 

Benozxo  Gozzoli,  85-87. 

Boar,  Sculpture  of,  177. 

Botticelli,  98-105,  147-149,    155- 

»S7.  174.  175.  ^'t-  2S3- 
Brancacci  Chapel,  The,  347-349. 
Bronzes,  Collections  of,  313-316. 
Brunellcschi,  53, 66,  184,  S15,  345. 
Byzantine  Pictures,  108,  134. 
Byzantine  Sculpture,  313,  334, 

Campanile,  The,  71,  233. 
Cantorie,  68,  69. 
Capella  Bardi,  37. 
Capella  de'  Pazzi,  31. 
Capella  Peruzzi,  a6. 
Carraud  Collection,  The,  310. 


Cathedral,  The,  53-71. 
Cellini,  Benvenuto,  131,  316. 
Cenacolo,  The,  354. 
Chinisera,  The,  341. 
Chiostro  Verde,  The,  45. 
Cimabue,  37,  109. 
Cima  da  Conegliano,  168. 
Correggio,  161. 
Cosmo  Pater  Patrice,  83. 
Cosmo  de'  Medici,  17. 
Cosmo,  St.,  16. 
Crucifix,  The,  333,  333. 

Damian,  St.,  16. 
Dante,  14,  31,  67,  3ta. 
David  of  Donatello,  The,  309. 
David  of  Michar*  Angelo,  The,  94. 
David  of  Verrocchio,  The,  314. 
Delia  Robbia,  34,  35,  31,  66,  68, 

316-319. 
Dominicans,  The,  16,  33,  73,  73. 
Don  Lorenzo  Monaco,  173. 
Donatello,  31,  30,  69,  131,  308- 

3IO,  315,  aas.  ""6,  345,  346. 
Doors,  Bronze,  56-61. 
Drawings,  Collection  of,  176. 
Duomo,  The,  53-71. 
Direr,  159.  163,  197. 

Egyptian  Museum,  Ttie,  340. 
Etruscan  Museum,  The,  338-343. 
Etruscans,  The,  13,  338. 

Fiesole,  13. 

Fra  Angelico,  73,  74-77,  78-80, 

83,  83,  107,  118-135,  »49.  '^SS' 

174.  3SS- 


tL 


The,  S3-7»- 
envenuto,  131,  ai6. 
,  The,  354. 

The,  341. 
Verde,  The,  45. 

■  37.  >09- 
Conegliano,  168. 

0,  161. 

'ater  Patriae,  83. 
le'  Medici,  17. 
St.,  16. 
The,  333,  333. 

1,  St..  l6. 

14,  31,  67.  aia. 

jf  Donatello,  The,  209. 

)f  Michae'  Angelo,  The,  94- 

of  Verrocchio,  The,  314. 

Robbia,  34,  35,  3».  66.  68, 

319. 

licans.  The.  16,  33,  72.  73- 

^orenzo  Monaco,  173. 

;elIo,  31.  30.  69-  »3»'  «^- 

,  315,  "'S'  "'6,  343.  346. 

I,  Bronze.  56-61. 

ings.  Collection  of,  176. 

JO,  The,  53-71. 

r,  159,  163,  197- 

tian  Museum.  The.  340. 
ican  Museum,  The,  338-343. 
scans,  The,  13,  238. 

'•*'  '3- 

Angelico,  78,  74-77.  78-«>> 

,  S3,  107.  U8-135,  149.  iSS. 
4.  ass- 


fVDEX 


259 


Fra  Bartolommeo,  73,  81. 
Francis  of  Assisi,  St. ,  18. 
Franciscans,  The,  16,  18. 
Franfois  Vase,  The,  349. 
French  Sculpture,  311,  312. 

Gaddi.  Agnolo,  aa,  a8,  no,  138. 
Gaddi,  Taddeo,  33,  31,  49,  no. 
Gents,  Collection  of,  164. 
Gentile  da  Fabriano,  106,  17a. 
Ghiberti,  58-60,  66,  314,  315. 
Ghirlandajo,  40,  97,  1115,  144,  :>4, 

aS3,  353,  356. 
Giorgione,  170,  171. 
Giotto,  a6,  37,  38,  54,  tto,  iia, 

aia. 
Gloss,  319. 
Greek  Vases,  a^i. 
Guilds,  The,  laS,  333. 

Hermaphrodite,  The,  18a. 
Holbein,  i6a. 

Hospital  of  Santa  Maria  Nuova, 
353. 

Ivories,  Collections  of,  an,  313, 
an. 

Joseph,   Patriarch  of  Constanti- 
nople, 37. 
Judith  of  Donatello,  The,  131. 

Lawrence,  St.,  17,  344. 
Leor.ardo    da  Vinci,    144,    153, 

199- 
Limoges  Enamels,  314. 
Lippi,   Filippino,  38,  96,  97,  98, 

100,   103,   146,   JSi,  153,  3n, 

346,  348,  353. 
Loggia  dei  hsunzi,  The,  139,  130. 
Lorenzo  de'  Medici,  17,  347. 
Lorenzo  di  Credi,  145-149,  155. 
Lorenzo  the  Magnificent,  17. 

Macbiavelli,  21. 

Madonna  deUa  Sedia,  Tlie,  191, 


Mantegna,  166. 
Martini,  Simone,  137. 
Masaccio,  347-349. 
Masolino,  347-349.  ^ 

Medici,  The,  i6,  17,  73. 
Medici  Palace,  The,  84-87. 
Medici  Tombs,  The,  346. 
Medici  Venus,  The,  18a 
Memling,  163. 
Memmi,  Lippo,  137. 
Michael  Angelo,  si,  94,  160.  306, 

308,  332.  346. 
Michelozzo,  7a,  319,  333. 
Mino  da  Fiesole,  a3i. 
MiiTors,  Etruscan,  341. 

Niobe,  Sculpture  Group  of,  183, 

Ognissanti,  The,  353. 
Opera  del  Daomo,  The,  68-71. 
Orcagna,  42,  43,  226-2'-''. 
Or  San  Michele,  223-339. 

Palazzo  Vecchio,  The,  ij8,  139. 

Perseus  of  Cellini,  The,  X31. 

Perugino,  94-96,  159,  191,  255. 

Photographs,  50. 

Pisa,  14. 

Pisano,  Andrea,  57. 

Pitti  Palace.  The,  184-204. 

Podesti,  The,  205. 

PoUaiolo,  145. 

Portraits  of  Painters,  176. 

Pottery,  219,  240-243. 

Primavera,  The,  99. 

Pulpits,  31,  334,  34s,  256. 

Raphael,  157-159.  189-192,  194, 

»9S.  197- 
Rembrandt,  10. 
Reparata,  St.,  17. 
Riccardi  Palace,  The,  84-87. 
Roman  Emperors,  179. 
Roselli,  Cosmo,  96. 
Rossellino,  335. 
Rubens,  186,  192,  195. 


' 


26o 


INDEX 


Rucellai  Chapel,  The,  35,  37. 
Rucellai  Palace,  The,  34. 

St  George  of  Donatello,  The,  209. 
San  Leonardo  in  Arcetri,  356, 257. 
San  Lorenzo,  244-349. 
San  Marco,  72-87. 
San  Miniato,  330-337. 
San  Salvatore  al  Monte,  332. 
Santa  Croce,  16,  17,  18-33. 
Santa  Maria  Maddalena  dei  Pazzi, 

ass- 
Santa  Maria  Novella,  16,  17,  33- 

5'- 
Santa  Trinity,  251-353. 
Santo  Spirito,  353. 
Sarcophagi,  178,  219,  343. 
Satyr,  Statue  of  a,  x8o. 
Savonarola,  73. 

Sculpture  at  the  Uffizi,  i7t-i83. 
Sci:lpture  at  the  Bargello,   206- 

333. 
Seals,  Collection  of,  aaa. 
Sebastiano  del  Piombo,  189. 
Sepolci-eto,  The,  44. 


Signorelli,  Luoa,  149. 
Signoria,  The,  130-132. 
.Silver  Work,  314. 
Sodoma,  153. 

Spanish  Chajiel,  The,  44-50. 
Spedale  degli  Innocenti,  256. 
Spinello,  Arietino,  336.  [44. 

Strozzi  Chapel,  The,  38,  39,  4a 
Strozzi  Palace,  The,  33,  34. 

Tabernacle,    by    Orcngna,    336- 

338. 
Tapestry,  219,  aaa. 
Titian,    159,    160,    165  171,    187, 

188,  193,  194,  196. 

Uffizi,  The,  128-183. 

Van  der  Goes,  Hugo,  255. 
Vandyck,  159,  191. 
Velasquez,  199. 
Venus,  The  Medici,  181. 
Veronese,  159,  165-171. 
Verrocchio,  loa,  130,  214,  220. 

Wrestlers,  Statue  of,  180. 


Butler  &  Tanner,  The  Selwood  Printing  Works,  Frome,  and  London. 


Lura,  149- 
The,  130-132. 
rk,  314. 

S3- 

haiicl,  The,  44-S°- 

gli  Innocenli,  356. 
i\rietiao,  236.  [44 

hapel.  The,  38,  39.  4^ 

lace,  The,  33,  34- 

;le,    by    Orcagna,    8a6- 

,  219,  aaa. 

159,    160,    165  171,    187 

>3,  194,   196- 

he,  138-183. 
Goes,  Hugo,  255. 

cz,  199. 

The  Medici,  i8x. 

ie,  159,  165-171- 

:hio,  102,  130,  214,  220. 

ers.  Statue  of,  180. 


k^orks,  Frome,  and  London. 


i^  'mmmmmr^m^ 


NOTES 


t  J!» 


1 


pi 


NOTES 


I 


MWi 


f 


:«4iWi:-4j^s.Vjt^,»ji*iiJ6,,i,*ij.^irfi(f^^,^iT._>.^^.  ,^,.^;^^^ 


